one time wanderer

It is impossible to watch this movie and not consider a career in full-time Sharmila Tagore simping. All her looks in the first half are captivating and unforgettable, and her eyes! My god, her eyes!! As for the second half, they did her so dirty, it's unforgivable. We could have gotten milf-Sharmila in her 40s but nah. We got that instead. Rajesh Khanna and Sharmila's chemistry though... very, very few on-screen couples I can think of who had the ability to string together an entire movie based on their chemistry alone. That too in the first half itself, because they play a mother-son duo in the second half. Don't even ask, but it works somehow. The other thing that works and has largely contributed to this film becoming a classic is the album. SD Burman and Anand Bakshi, along with Kishore Kumar, Lata Mangeshkar and Mohammed Rafi, have produced an album that will never grow old.  I mean the fact that 'Mere Sapno Ki Rani' is dedicated to Sharmila— appropriate af. &

I'm a fan of the time-loop genre and all the possibilities it offers. So, I did enter this one with a lot of expectations, and I'm so glad to report all of them were met!! Especially the excitement I had about mainstream Tamil cinema marrying the time-loop format, that was fulfilled for sure. Yuvan's background score was genius, and adds the most to a movie where everything is already top-notch. I loved, loved Simbu's performance, and I can't wait for him to return as Abdul Khaliq already. Kalyani was good too, and her chemistry with Simbu was just the perfect amount for a film like this. However, the best thing about the movie was S.J. Suryah— Maanaadu starts to drag just a little bit around the mid-point, but it's barely noticeable because that's when Suryah comes in with full energy and makes you focus. It's a treat, I tell you. Go watch it. Also, the politics of the movie are so on point. None of the saviour Good Muslim crap here. It's almost unb

Missamma was even better than I was expecting— I was in the mood for a proper laugh-out-loud Telugu comedy, and I got that and much more. Firstly, ANR absolutely killed it in every scene, and halfway through the movie, I started laughing the moment he appeared on screen. The same thing happened with Savitri as well, who was the unquestioned star of the movie. Every expression of hers was priceless, and if there's a single reason why I'll rewatch Missamma , it's for her. Jamuna was too good in the comedy scenes as well, but her dance sequences left me enthralled. Her chemistry with Savitri and NTR was brilliant, and I can't wait to watch Gundamma Katha soon to get more of it. Also, the album: what a TREAT!!  It'll probably sound weird, but Missamma has already started feeling like a Christmas movie to me, and I love it. The start of a new tradition, maybe.  Oh, and this might be the perfect movie to acquaint yourself with classic Telugu cinema! So fresh and funny and

One of my favourite theatre experiences so far, and a very emotional one too. Not just because of the film, which had its share of highly emotionally-charged moments, but also because I realised how more than 11 years back, I had gone to another cinema hall to watch Ranveer Singh's iconic debut Band Baajaa Baaraat , and how in 2013, I had bunked school to go watch the first Deepika-Ranveer movie, Goliyon Ki Raas Leela Ram-Leela . All those memories came flooding back, and I felt overwhelmed by how these movies have fit into my life, and in a broader context, by my love for movies.  Also, after a long time, we sat till the end of the credit rolls. What a beautiful story, and the way Kabir Khan and team did justice to it!

Where do I even start with this Freudian mess of a movie? Like I said a couple of days back, nothing is more annoying than a movie that had all the potential to be good and thoughtful and funny and everything else that one looks for in a cinematic experience, but turns out to be bad anyway. Atrangi Re  just might be the perfect example of that genre. As everyone on social media has already pointed out, the depiction of mental health and disorders in the movie is extremely problematic. It mocks the trauma Rinku (Sara Ali Khan) has gone through her entire life, and to make matters worse, it does so through a psychiatrist. I honestly felt quite triggered and sick afterwards— it's been 24 hours and a part of my brain still hurts. It's that bad. Also, the sexual politics are so messed up. I cannot believe that big twist actually happened, and that it was supposed to be a reasonable justification of why Rinku was the way she was.  Canadian Kumar is immensely forgettable here, which w

Madras (2014), directed by Pa Ranjith, is one of those movies that only get better with every rewatch. There are so many nuances packed into every scene— watching it multiple times means treating yourself multiple times. To start off, Ranjith has a way of getting career-best performances out of his actors (Arya in Sarpatta Parambarai , Dinesh Ravi in Attakathi , etc.) which ensures that all the characters remain in your memory. This in turn reinforces the strong community feeling that the director is going for, which in turn makes you really understand (or begin to, anyway) the politics of the movie. Another thing that struck me this time was the sports culture of North Madras that the film so subtly yet powerfully uses as both a narrative and subversive tool. Maybe it's because I had to research on the same topic for a documentary recently, but I just cannot get over how Ranjith employs sports in general, and football in particular, to really bring out the various shades of subalt

Disclaimer: I am not a superhero movie fan AT ALL. I barely watch any, not even the ones that are hyped 24x7 on social media.  However, I ended up making an exception for Minnal Murali . Why? Well firstly because I am on a break from college and I feel so dead inside from how toxic it is that I am seizing any and every opportunity to start feeling something again.  Secondly- I had seen Shyam Singha Roy in the morning and I needed to distance myself from it as soon as possible. Lastly, because Tovino Thomas has replaced Dulquer Salmaan in my simp list and he looked so cute in the promos and all that I thought "hey why not, let's expand our horizons". And I'm so glad I did. The movie is extremely enjoyable and engaging, even for someone like me who isn't really into this genre. I didn't love it or anything, but it was just the kind of fun one-time watch that I needed. Also, Tovino!!  My favourite was little Josemon though, played by Vasisht Umesh. They lit up ev

There is honestly nothing more annoying than a movie that has flashes of being a good movie, but turns out to be a bad one anyway. Not only have you watched a bad film, but you have also been cheated of all hope and it's exhausting, to say the least.  Also, when this movie is a first day first show, you can't help but feel betrayed. Full "I trusted you!" moment only.  The first half was so tedious to sit through, I genuinely thought of leaving after the interval at one point. I didn't though, because Sai Pallavi only made her entry in the second half, and let's face it, she was the real reason for me to go watch it anyway. I mean, Nani was a huge pull factor too, but after Tuck Jagadish (2021) and V (2020), I was a little wary of trusting this man completely. As I should, because look what he made me sit through... again! (I swear to god, if the Nazriya film isn't good, I just might never watch a Nani movie ever again). Back to Pallu though- she is the onl

Everything about Attakathi was absolutely delightful, starting from the title itself, which loosely translates to 'cardboard knife'. I loved how almost every character in the film was hilarious and quirky, but more importantly, how all these characters fit in with each other and managed to seem real and not caricatures. Pa Ranjith has a way with good screenplays, and it's no wonder his debut reflects that.  My favourite character was of course Dinakaran or Dina or Atta, the protagonist played by Dinesh Ravi. I don't know how to explain it, but there was something so likeable about Dina that despite having seen the most toxic versions of his character in countless movies before, you cannot help but root for him and his quest for love. Except when you feel exasperated by him, which is every 10 minutes. Basically, his characterisation and development is the perfect formula to keep one hooked to a film. However, I was not just hooked to the film. I actively wanted it to no

No one except Rekha could have done justice to Amiran.  It feels like this role was specially written for her, even though Muzaffar Ali adapted the screenplay from Mirza Hadi Ruswa's 1905 Urdu novel Umrao Jaan Ada . That's just how brilliant she is here. Despite the appalling quality of the print that I ended up watching (all thanks to the fact that not one streaming platform features Umrao Jaan in their collection), I couldn't help but be struck by the sheer beauty of it all. The attention to detail is stunning and really brings to life the sheer grandeur of that era.  But— it's the way this beauty is captured and projected on screen that one never truly feels at ease in the midst of all that aesthetic. Something in the air is perpetually unsettling, and only gets intensified as the story progresses towards its doomed end.  In the centre of it all is Rekha, who breathes life into her character in such a way that it's easy to forget you're watching a film. Every

As my best friend said, Pushpa: The Rise should settle the debate of Tollywood supremacy forever: Allu Arjun is the undisputed king of his generation. My biggest complaint with the movie was how long it was. It could easily have cut down on at least 40 minutes of run-time, had they been smarter about the entire Rashmika track. Speaking of which, how did akka manage to be more annoying and forgettable here than in the magnum opus Sarileru Neekevvaru  (2020)?  Not entirely her fault, I guess, but it's so annoying to see everything else in the movie work out except the female lead's role. Somewhere in the second half I thought that maybe now we'll see some redeeming grace, but no. No chance. The album was another strong point for me, with 'Oo Antava' becoming an anthem. Exactly the kind of feminist bop we need in these times.  Sunil as the villain was perfect— I couldn't even recognise him for thr first 2 minutes or so, he was just that good. Also, the scene where

I don't think I have anything to say that hasn't been said about The Great Indian Kitchen (2021) already.  It's a powerfully scathing look at how certain traditions of Indian patriarchy have managed to reconstitute and adapt themselves with the changing times, ensuring that women stay trapped in situations which do nothing for their personal growth. Forget personal growth— these traditions actively harm women physically, socially, economically, psychologically, emotionally and mentally. Which is exactly what this movie tackles, in the best 'show, don't tell' way possible.  Nimisha Sajayan's performance is easily one of the best of the year, cutting across industries. Suraj Venjaramoodu almost matched up to her, but let's face it, there's no one to truly match Queen Nimisha. Also, the shots?? The ASMR-like quality of the food shots especially, which successfully lull you into a false sense of comfort, only to jolt you awake with the realisation that s

Not going to pretend otherwise, but watching Thalapathi is a completely different experience if you have learnt how to frame shots, and more importantly, shot a short film/documentary yourself.  Firstly, it made me realise (finally) why Mani saar is such a tour de force in the Indian film industry (apart from his class-caste status, of course).  Secondly, the framing of the shots gave the story an additional depth, particularly in the scenes featuring Shobana and Rajinikanth. In a way, they foreshadowed their doomed love and the boundaries neither could cross. Were it not for those frames (and the two legendary actors, obviously), I guess the love story would have fallen a little flat.  This also reminds me how I found the love story in Nayakan more impactful than the gangster saga aspect: maybe it's time for a revisit? Ilaiyaraaja's music is the real hero of the movie, in my humble opinion. I mean, every song in this album hits you exactly where it needs you, and also in place