one time wanderer

I feel like I am probably the only person who didn't like it, but well, it is what it is. It just didn't work for me, honestly, even though I found the central premise and conflict very intriguing. Everything moved too slow for my liking- it could have been an excellent slow-burn but it just put me straight to sleep. Prakash Raj and Nassar made me want to stay up though; both of them seemed in good form, but there's only so much that they can do at the end of the day.  In conclusion, maybe I really am not cut out for art house films. 

Oh, to be a side character in a Joe Wright period drama, getting to witness Keira Knightley being an absolute phenomenon... I love everything about this movie- it's so personal to me, and I can't put it into words. The way it's shot, the background score, the perfect casting: everything works together brilliantly, and I'm left grinning like a fool by the end, because it makes me so very happy each and every time. Easily one of Keira's best performances, and it's no small feat considering that her character is that of a universally beloved Jane Austen heroine, in fact, THE Jane Austen heroine, the one who is remembered first everytime we talk about the great author. Elizabeth Bennet herself. Matthew Macfayden is arguably the best iteration of Mr. Darcy. The way you can physically feel his awkwardness, and feel second-hand embarrassment more often than not on his behalf is exactly what this character demands. Same with Donald Sutherland, who is 100% accurate as Mr

Watched Saath Saath  for the second time, and it's this viewing that has cemented its place in my heart as one of my favourite romances of all time. Since I already knew what was going to happen, it allowed me to experience Avinash's trajectory in a less emotional way (last time I was swept away by the communism and the shattering of dreams to be objective at all), and I must say that he is written very cleverly. He is a very typical man, right from his idealism to his final redemption. Farooq Shaikh does a brilliant job in bringing the character to life, in all his righteous and not-so righteous shades. What a performer, and what a performance. As for Deepti Naval and her character Geeta- how does one not fall in love with them after watching this movie?? Geeta is everything I want to be in life, no kidding. I too want to be that dignified yet assertive, making sure that I live according to my own terms and not society's. Honestly, it's a little sad that we still wish

Definitely the weakest out of all the Kodi Ramakrishna films I have seen yet. I could catch glimpses of the magic that would make his future movies so memorable and impactful, but everything was so choppy here (borrowing yet another word from my bestie, thanks fam) and as hard as I tried to like this movie, it just didn't work for me. As soon as the script started getting interesting, it would suddenly veer off in a completely different direction, making me lose focus real quick. Plus, I felt that there just wasn't enough of Venkatesh. He was brilliant as the advocate-turned-vigilante protagonist, but so severely under-utilised it hurt. I couldn't help but remember his strong performance in Dharma Chakram (1996) and wistfully longed for something similar in this movie too. Brahmanandam was impactful, even though his role was short, and well, that's Brahmi garu for you. A true Nata Samrat. One thing I really appreciated in this movie was its ending. No, not because it en

I definitely would not have enjoyed this true-blue libertarian movie had it not been for the stellar performances. Chiranjeevi, of course, carried the film with his fiery act as Gandhi, and managed to save the movie from slipping into a cringe parody version of itself. Suhasini was amazing as Lakshmi, and such a delight to watch on screen. However, it was Vijayashanti who won my heart. Not only did she look like the most adorable sweetheart, but she was also fierce when she needed to be, like the scenes where she admonishes her father. Rao Gopal Rao was intense and evil as the main villain, and was a good foil to Chiranjeevi. I also felt very proud of myself for recognising a young Rajendra Prasad as Vidyarthi (this film has a lot of indigenius moments like this) and of course, baby Allu Aravind who seems to have forsaken a career in comedy (rip @ us). Speaking of comedy, Gollapudi Maruthi Rao was hilarious but also sinister as Hanumantha Rao, a fine balance to pull off. Lastly, Silk S

Probably the most iconic movie of Bobby's career, or at least the one that is associated with his artistry the most often. Quite rightly so, I must add, because hello?? The way Bobby encapsulates the brooding and edgy hero is phenomenal. A cultural reset, if I may say so myself. And the songs? Mashallah. Who hasn't had "Naiyyo Naiyyo" stuck in their heads for days after randomly listening to it for 20 seconds? And who hasn't wanted Preity's outfit from that song ever since they first saw it at the tender age of 4 or whatever??  Speaking of Preity Zinta, what was that weird dubbing for her? She looked so cute, a fashion statement in every look, but that completely unsuitable voice just threw me off.  As for the story itself- it's a classic Abbas-Mustaan movie, and that's the best way to sum it up. I had seen it years ago, and quite truthfully, I had forgotten about most of the plot twists that constitute the plot of the movie. It could be because I was

Not gonna lie, I was left quite confused after finishing Tamasha , which I have observed to be one of the most polarising movies made in the past couple of years. At first I thought it was a decent enough movie and couldn't understand either extreme of the emotions it produced in people, but the more I thought about it and discussed with my movie partners, the more I lowkey sided with the section of the people who seem to hate it with a passion. Emphasis on the "lowkey" please- I do think it has some interesting parts which were well done, but on the whole, it just is not what it pretends to be. Which reminds me of the one word that can sum up this movie and the way it's made- "pretentious". I guess I could end this "review" with that word but of course I have opinions and must continue.  Let me start off this analysis on a positive note and talk about the things I liked the most. First of all, this movie finally pushed me into becoming a full-time

Watched this a couple of times growing up, and I distinctly remember calling it my "favourite film" for a couple of months, at the very least. I mean, not only does it have both my childhood (and let's face it, forever) faves Rani and Shah Rukh, but also has them in very unique roles and looks. Plus, this movie is a visual treat. All the vibrant colours, haveli shots, the fashion, etc. reel you in, and make for such a satisfying experience. It also both does and doesn't feel like a folk-tale- I know this is a very bad way of articulating it, but I don't know how to say it better so deal with it. Plus, and this is my favourite part, the ghost character is the closest we got to seeing SRK play the obsessed lover from the early 90s and what's not to appreciate about that? He owns those antagonistic roles, and no one can do a better job at them than him.  Actually, my favourite part is how gorgeous Rani Mukerji is in this movie. As one of my friends put it, Paheli

Technically, Bombay Rose is flawless. I don't watch many animation movies, but watching stuff like this makes me wish I did. This film has such a gentle, soothing effect- a sensation that is heightened by the beautiful music that accompanies the paintings on screen. The Rewa song and the Konkani song were the highlights of the movie for me. The fact that they were used as refrains added more depth to their respective characters' journeys, and made me fall a little more in love with the movie than I would have without their repeated use. My problem with the story is that it tried to take up too many issues in such a short space of time (the film is one and a half hours long) and as a result, it couldn't offer more than a shallow perspective on any issue. Let me just try to recap the list of socio-political problems this movie tries to deal with: communalism, sex work, poverty, physical disabilities, the Kashmir issue, and of course, the loneliness that accompanies ageing. It

Jathi Ratnalu proves yet again why no one does full-fledged comedy like TFI. The script is filled to the brim with jokes, and the best part is that all of them land- all of us in the audience were laughing constantly, not even kidding. The characters are so brilliantly sketched that there was anticipatory laughter for many scenes too. Well, if not anticipatory laughter, then at least there was anticipatory giggling, and yes, it counts.  Everyone in the movie did a fab job, but honestly, Naveen Polishetty outshone them all. He owned the movie with his strong portrayal of an often-moronic loser, and I could not stop gushing about him to everyone who'd listen (including my best friend who isn't a fan, but she's my best friend so she has to listen anyway). It's the kind of performance that is single-handedly responsible for turning someone into a fan, and what can I say, I'm part of the Naveen Polishetty fan club now. It also made me super happy to know that Nag Ashwin

My only regret is that I wish I knew absolutely nothing about this movie before watching it. I know I'm 26 years too late to the party, but honestly, not knowing the basic premise would have made things even more scary and messed up, not that there wasn't enough of those sentiments already. But to watch it unfold like the psychotic drama it was on the big screen, while innocently expecting another cute sweet love story featuring foetus Thala... I would give anything to have that experience. I know we love poking fun at Prakash Raj for being the evergreen villain, but it takes an Aasai for one to truly understand why he's earned that reputation. He really brings to life the evil but powerful psychopath who can manipulate people and situations to get what he wants, and I swear I was shaking a little when the movie ended because he is just that good at driving the point home. That's the thing about well-written thrillers- they work excellently as horror movies because you

Just the perfect balance of wholesome and mass I needed after being scarred by a creepy film that was full of masturbation. The way Joseph/Vijay (no, he's actually called Joseph/Vijay in the film only) interacts with his daughter, and the way they call each other baby made me very soft very quick. The Vijay-Samantha romance made me feel all mushy but also made me laugh, because both of them are damn funny performers, effortlessly. And of course, the Vijay-Raadhika relationship was another highlight for me, with its wholesomeness and comedy. Yes, this "review" is pretty much an attempt to write the same thing 34 different ways, and I don't even know why. All I know is that every time I need my emotional support DILF, he is right there with everything that I need- a good laugh, a good cry, and of course, the MASSSS scenes. Very glad to have this man in my life.  As for the politics of this movie- they're problematic (short version). Just because I'm a fan doesn&

Watch-partied with my besties, and we couldn't even make it the half-hour mark. It made us feel super uncomfortable, and we were just not ready for 2 and a half hours of all that. On top of that, the story moved in a very weird and jerky way, and I felt dizzy trying to keep up with what was happening on screen. Quite an unpleasant experience. Hope my next foray into Japanese cinema is more successful. 

Never thought anything could top Jab We Met (2007) in the Imtiaz Ali Cinematic Universe, but we have a very, very close contender. Don't tell Shahid, but the only reason Socha Na Tha hasn't completely toppled off Jab We Met is because of the insane crush I had on him and his character, and which I still think fondly of (my crush, not Shahid himself) for some obscure reason. And also because I was obsessedTM with Jab We Met for a long time, and the album is superior to the Socha Na Tha album by a long shot. But anyway, my main point is that Socha Na Tha is Imtiaz Ali at his peak- an unbelievably cheesy rom-com handled in a realistic and fresh way, starring two actors with insane chemistry and who look so cute that you fall a little (or maybe more than a little) in love with them while watching the movie.  This definitely has all the entrapments of a "comfort watch" for me- the way the pieces fall together neatly (enough) and some dialogues that hit too close to home ar

This film tried so hard to make us believe that RaPo was the hero, when in reality, Brahmanandam OWNED this film. He had at least 20 iconic scenes and lines, all of which have been successfully preserved for posterity through memes and gifs. RaPo was just the third male lead, after Sunil of course, who had one of the cutest and most adorable roles ever. Actually no, RaPo was the fourth person- I was honestly more invested in Nassar sir's character development. "More invested" is a bit of a stretch- I was not invested in RaPo at all, except for the purposes of roasting and trolling. I can't help it, I literally hated him from first sight- there was something so annoying about his presence, especially his voice aiyyayo. Couldn't help but wonder how much I would have loved this film if someone else had been cast in his place (*cough*alluarjun*cough*) (hey, Bunny and Genelia had good chemistry in Happy , it would have been for the best).  Moving on from the unprovoked

Finally!! A Bollywood movie in the theatre after so long, that too with the fam!! Okay, only one member of the fam, but still. Exciting times!! Also, disclaimer- I haven't yet watched Stree (2018), so I have zero opinions on how it fares as a spiritual successor or whatever. Anyway, I don't really like making such comparisons, so it's better this way only.  Now about the movie- what I liked most about Roohi was how insanely funny it was. It felt so good to laugh every 3-5 minutes over something hilarious, and Varun Sharma and Rajkummar Rao have amazing comic chemistry which just elevated the jokes. Janhvi didn't have much to do in the comedy department, but as far as I remember, her reactions were on point. As for Janhvi herself, I feel like she acted really well and played it subtle max when it came to Roohi which I appreciate because so many people would have been way too loud as the damsel in distress or overacted or whatever. However, I did find Afsa a bit too much

This is THE perfect movie to watch with your buddies on movie night. It's so wholesome and refreshing, with super relatable characters and situations. Especially everyone's gigantic issues with their families, oh lord. Or with their careers, because of course. One of the best Hindi cinema takes on the found family trope, and that jus filled my heart with so much joy, because found family done right is literally the best thing to ever exist. Who doesn't want that ending with all the characters being happy together in each other's company, finding solace at their favourite spot? The world outside stays vicious and exhausting BUT HEY, at least you have the comfort of friendship to fall back on, even if it is for a little while. My god, I can't even stay optimistic for half of a sentence, but whatever. This movie can fill in the void, thank you very much. The cast makes it seem like the roles were written for them and them alone. Avinash Tiwary's Rashid gave me a li

Priyadarshan at his finest- I haven't laughed this hard while watching a movie since quite some time now, but when it pierces through the laughter and makes you feel all kinds of emotions, you are not ready for what hit you. Mohanlal and Jagathy Sreekumar have unmatchable comic timing; and as for the love of my life, Asha Kelunni aka Revathi, I don't even know what to say??? She plays the part of Nandini so perfectly that I can't imagine anyone else doing justice to the role. She was entertaining max, without ever once being annoying or over the top, but also the softest baby ever. Revathi made it so easy to empathise with Nandini, and to understand why she did what she did. Brilliant performance by a brilliant actress in a brilliant film from the brilliant 90s- what more can you even ask for? Revathi also has amazing chemistry with literally everyone in the film (this woman makes everything look so effortless, I swear to god) and her scenes with Jagathy and Lalettan are th

Lalettan won a National Award for his performance here, and rightly so. He hits all the right notes (pun intended) in every single scene, be it romancing Urvashi right behind her mother's back, or a man simultaneously very near the edge of grief but also drowning in it during the 'Raamakadha Gaanalayam' song. Incidentally, K.J. Yesudas too won a National Award for that song, and Raveendran received a Special Mention as the music composer for the film. They honestly should have also made a whole new category that year for the chemistry between Mohanlal and Nedumudi Venu- because if there's one reason to watch this movie, it's this. They both somehow become better actors when they're on screen together- as if their individual talents combine and become a force of their own, which sustains the narrative so beautifully. I love how effortless their dynamics seem always, no matter the genre of the movie, or the seriousness of the scene. It's just always brilliant.

Shah Rukh Khan himself considers this his favourite film, so who am I to disagree? Even though they were both released in 1994, Kabhi Haan Kabhi Naa and SRK's role in it is as different from Baazigar and the universe it occupies. Well, except for the fact that they're both cult classics and are arguably two of his best performances in his long and illustrious career. And of course, both of them have a special place in the hearts of SRK fans too. Personally, Kabhi Haan Kabhi Naa is one of those movies that instantly put a smile on my face. Rewatching it as I'm going through a bit of a rough patch in life made me relate even more with Sunil than I usually did, and made me realise (quite emotionally) that it feels like I have grown up with this character, loving him through all phases of life and relating to him in different ways every time I rewatch. It's with this role that I probably first felt with full force what an enchanting performer Shah Rukh is, and how beautiful

I honestly don't have the words to express all that I felt after watching this movie. For one, it's easily one of the best written films I have ever seen. Lohithadas does such an incredible job at tracing the protagonist's life, that when the (heartbreaking) climax happens, all you feel is a profound sense of tragedy.  Mammootty, as Vidyadharan, gives one of the finest performances of his career. I mean, I have seen him in some truly pathetic movies, and even there one can tell that he is a good actor, even though his characters are usually the sort of men you warn other people (especially women) against. But here, my god. His presence is towering, but also deeply nervous. He is too afraid of a lot of things, but he is never a coward. He is a man in love, but he has been so bound by casteist hierarchy all his life that it takes prison to break him out of it. And in all this, Mammukka shines. It was such a treat to witness him in all his artistic glory here- the climax will

If there's one thing from this movie that's going to stay with me, it's Urvashi GOAT feelings. I didn't even realise it was her till I checked the cast after completing the movie, she was that good. I'm so used to seeing her in comic roles, and here, she did not have a single funny scene. Not that she didn't completely slay it, though- the fact that I'm talking about her 10-minutes long role first in this "review" should be proof enough of that. All hail Urvashi! Coming to the rest of the movie now- the only phrase that can truly encapsulate it is "hot mess". I mean, on one hand, you have a stellar cast giving it their all, and on the other, a script that is so full of unnecessary things, but still keeps you invested till the end because of ALL the plot twists. I swear, I was changing my mind every 15 minutes about whether I liked this movie or not, because there was a lot to process. However, after the ending, I can definitely say that I

Not gonna lie, I was lowkey very curious to see how this movie deals with the subject of female sexuality. Yes, I was aware from the outset that it's going to be a trash-watch, but hey, trash-watches can have some stuff to say about a gal trying to explore her sexuality, can't they? However, in that respect,  Indoo Ki Jawani feels like it was written by three extremely horny 16 year-olds from West Delhi who are trying really hard to suppress their homosexuality by fantasising about women together. I could actually end this "review" right here because nothing will ever top that sentence, but I surprisingly do have more stuff to say about this movie, so here we go.  Firstly, Kiara Advani is actually really funny?? Like she had amazing comic timing, and got the Ghaziabad gurl accent, mannerisms and facial expressions down perfectly??? I must say that I am pleasantly shook by this discovery. Just work on your script-selection girl. PLEASE. Secondly, I honestly didn't

This is one of those movies where the acting performances elevate the script from good to excellent. Literally every single member of the cast was in top form and made it so easy for me to be invested in the movie from start to finish. The star of the show though, undoubtedly, is Bhumika Chawla ma'am. She commands your attention, and she makes sure that it doesn't go off in other directions. On top of it, she looks gorgeous as hell. From her first scene to her last, you just can't take your eyes off of her, and it's hard to even hate her, to be honest, because she is so into her character and humanises it so completely that all you can think of is what she's gonna do next. Delightful. I also really liked Laya- she was so funny and lowkey relatable (that's right my queen, we trust no man) and her chemistry with Sivaji was so good. But not better than her chemistry with Bhumika, of course- those two had sexual tension after a WRITTEN LETTER. Anyway, it's a pit

This is the feminist dose I needed to be injected into my system. It's entertaining as only a 90s film can be entertaining (in the best way possible, let me clarify) and it's as harsh as only the male gaze at an office can be. And of course, it's as wholesome as only the bonds of sisterhood (intersectionality, yaaasss!!) can be. Rohini, Revathi and Urvashi shine as Pappamma, Sathya, and Janaki respectively, and I love how, unlike most "woke feminist" films, they have not been lazily written at all. Their back stories are fleshed out properly, and their relationships outside the office space, and where they come from and who they are, it's all been sketched well enough to add more depth and conviction to how they behave and react in the workplace. And I don't think I even need to mention how fabulous these three ladies are as actors, and how they bring in so much to every role that they are cast in. I mean I just did, so let me continue- I have been fangirl

Despite the cliché and unbelievable plot, what works for Once Again is how poetic it is and how real it feels because of its sincerity. And of course, Shefali Shah's and Neeraj Kabi's incredibly earnest chemistry. I am personally a huge fan of mid-life romances (someone wake up Venky mama to the fact that he needs to do one each with Tabu and Shobana) and Once Again reminded me of all the reasons I have for loving them. The beauty of finding love when other things have taken precedence in life, the slow hesitation, the ifs and whys- they are all so wonderfully captured here, and not just in dialogues, but in the acting and direction as well.  The film is also a visual treat- one gets tired of seeing Mumbai over and over again in our Hindi movies, but here it has somehow been captured in a much more personal way that felt refreshing to see. It's almost as if Kanwal Sethi made the city a character without telling anyone, a story that unfolds along with the protagonists' a

I know this is more of a me problem than a problem with the movie per se, but I just don't see the point of casting a legend like Dina Pathak if you're not going to give her anything to do. The story was also kind of predictable and meh- even Asrani and Amol Palekar couldn't sustain my interest in it, and usually they're the people who rescue movies for me. But mostly, why would you do that to Dina Pathak? Why?  The child actor was cute though. And the morality of the movie was boring and just added to the overall predictability. Blah. At one point, I almost gave up, but out of respect to Dina and Amol I stayed on. And also to see if Dina would get an actual scene sometime. But nah. Disappointing. In conclusion, I feel extremely offended as a Dina Pathak fan, in case you couldn't tell. This was an articulation of my frustration, and not a "review". Just kidding, I never write reviews anyway. 

Incredibly disappointed by this one. Even though I want to appreciate the director for trying to something different (and succeeding to an extent), the overall experience leaves me very meh. The lead performance wasn't very convincing for me, and I felt it lacked a certain sense of disorientation required for the role. Also, I don't have any way to sugarcoat this, so I'll just say it- this was too boring to be a thriller. I fell asleep while watching it (yes, I saw it in the night, but isn't the whole point of a thriller like this that it doesn't let you sleep??). I did want to know what happened though, so I guess that's a good sign somehow? Anyway, I don't understand the hype around this film, and I wish I saw some honest criticism of it somewhere. That's it.  PS- the very last "twist" was so unbelievable, even by this film's standards. Pack it up, Abbas-Mustaan lite!!

One of my biggest pet peeves about present day Bollywood is how it's always trying to be something else, especially by imitating Hollywood. It gets tiring and boring and everything that makes Hindi cinema special is lost in this needless charade. That's why I found Ek Villain both refreshing and engrossing- it never pretended to be more than what it was, aka a good old Bollywood thriller that was also a strong romantic drama. Sometimes you just gotta watch a lover avenge his beloved's death by all means necessary, and you know what? Ain't nothing wrong with that. I particularly enjoyed Riteish Deshmukh's performance as the psychotic murderer. I was not expecting him to be so good, and I guess the moral of the story is that Riteish and Genelia should avoid movies with each other at all costs. I am also glad that the movie didn't throw in random psychological/psychiatric jargon to give his back story more "legitimacy". He was Bollywood crazy, and that

After a long time, I watched a movie that made my heart so full and my eyes so teary that I wanted to lie down on the floor for a while just to process my emotions. Chinese gay movies just hit different for some reason: this was my third one, and I felt as big a mess as I did after the other two: Wong Kar-wai's Happy Together (1997) and Alice Wu's Saving Face (2004), both of which are not just two of my favourite LGBT+ films of all time, but also two of my personal favourites in general. And I have to say, Dear Ex is a worthy addition to that list.  The best part about Dear Ex  is the story and how it unfolds. It might seem a little confusing and irritating at first, but the film draws you in and treats you to one and a half hour of feeling intensely for each and every character in turn. I was delighted to find out that it was written by two women, and honestly, IT SHOWS. I was lowkey scared that they would make the mother/ex-wife the obvious scapegoat and turn her into the one

Rewatched this after almost 10 years, and all I have to say is "no". This has certainly not aged well, and I feel sad for little teenage me who was obsessed with this movie for a couple of months, and wanted to make it her entire personality. I tried very hard to be kind to this movie for her sake, but nah. Thank god I grew up.  The ending and final twist still made me a little emotional though. Also Jun Ji-hyun acted really well, period. But Cha Tae-hyun and his character were super cringe, and after a point, I just gave up. Only tuned back in for the final twist, of course. I'm glad I watched it though, because it had been haunting me for a while: whether this movie was good or bad. Not, at least I know.  In conclusion, leave this behind in 2001 please. Go watch something else. 

Let us begin by addressing the hypocrisy: to classify  Minari as a "foreign" film because a majority of its dialogues are in the Korean language is to mock the very idea of America as a "melting pot". There is no other movie that I can think of which falls so neatly under the category of the "great American movie" like this one, except for Paris, Texas (1984). Trope by trope, the film constitutes itself as a heartbreaking but heartwarming saga of what it means to make it in America: the most obvious one is the individualism of Jacob (Steven Yeun), his refusal to let "others" dictate what he can make out of his life, and his radical insistence on building his life for himself. Then there is the sick child David (Alan Kim), who reminds the viewer of the fragility and resilience of life. And of course, my favourite- the dynamics between David and his Korean grandmother, and how they both learn to love and live with each other, reinforcing the idea o

I find it really fascinating to watch debut films of my favourite artists. Not only do I like seeing how they've grown as actors, but also if there was a spark of something great to come all along. As objectively bad as Coolie No. 1 (1991) was, I cannot deny that I still got to see something in Tabu that would pave the way for greatness later. She was pretty much flawless as Rajani, and isn't that the best sign of promise from a newcomer? So for a Tabu historian like myself, it is no great wonder that 5 years after her debut, my queen was winning her first National Award for Maachis .  Coming to Mann Vasanai - I am mildly shocked by how good Revathi was in her debut performance. I mean- I was expecting her to be good, duh, but I literally could not keep my eyes off of her. Of course she has grown over the years, but even in her debut, you can't help but see glimpses of the extraordinary performer she was to become very, very soon. Plus, she just looks so cute??? How to not

Out of all the Rajamouli films I've seen, this one has to be my favourite yet, and not even because I'm biased as a Sunil stan. It is one of the best examples of a funny thriller- both aspects are balanced brilliantly, and it made me so happy to see Sunil get a chance to prove how he can thrive even beyond comedy while still retaining his hilarious comic timing. The music is also a winner for me, even though I wish that they had kept the "Raaye Raaye" song only for the end credits and BTS footage. It was a bit weirdly placed in the film for me, especially considering how the other songs blended in seamlessly.  Special mention to Brahmaji and Saloni Aswani as Srikanth and Aparna respectively, whose performances added more depth and heart to this story. I found Saloni very sweet throughout the movie, and kudos to her for not going full manic pixie dream girl when it seemed like the role was written for over-acting purposes.  In conclusion, movies with train sequences st

Such an underwhelming experience which got increasingly frustrating as the movie went on. Parineeti Chopra's performance was let down by the script and by the make-up department- seriously, what was wrong with whoever finalised that fake-ass wound?? And if they had written her role better and not made her into the typical Bollywood female alcoholic, this movie could have been a big win for her. I personally thought the vibes really suited her, of a woman who no longer gives a damn, but the script just did not match up.  Let us address just how bland an actor Aditi Rao Hydari is. She literally had the same expression in every single scene and situation. Was she hungry? Was she scared? Was she sad? Was she tired? Guess we'll just never know. On top of it, she was given way too much screen time and that annoyed me even more. That big name director really needs to stop casting her, so that everyone can finally wake up to how terrible she is at the job.  Another thing that made anno