Moving, invigorating, thought-provoking, and just plain brilliant, brilliant, brilliant, and I simply can't emphasize how brilliant. Netflix's The Trial of the Chicago 7 is hands down one of the greatest courtroom dramas filmed, made all the more great by its pedigree ensemble cast and how Aaron Sorkin's energetic script (one of Hollywood's best writers of all time) and inspiring direction (in only his second directorial) lend an exuberant, entertaining mood to the narrative when it could've so easily ended up another worthy somber tale, making good on its politically charged subject. And, it still doesn't compromise on the seriousness of its real-life source material even a bit. What's more, the web film stings with its resonance in today's turbulent times, be it an American or our own Indian landscape. A rousing, relevant legal tale if ever there was one.

5/5 stars

MAGNIFICENT, MARVELLOUS, MAJESTIC, MESMERIZING, MASTERPIECE — Christopher Nolan STRIKES again, demanding every ounce of your attention and rewarding you in truckloads with a tailor-made, big-screen experience in Tenet; the obvious influences from Terminator and Predestination and two minor grievances (one with a lock-picking sequence and the other with the location of the algorithm) notwithstanding. And yes, Denzel Washington's baby boy, John David Washington, has all the makings of a future superstar (loved him in BlacKkKlansman, too), and his bromance with Robert Pattinson (a perfect foil) almost reminded my of Jai-Veeru in Sholay, they're that good. Also, extra points for the perfect South Bombay shots and a brilliant Dimple Kapadia in a short albeit meaty supporting role (not a cameo). Watched two shows back-to-back because that's the only way to fully grasp the genius of a true Nolan epic.

4.5/5 stars

Funny, gutsy, smart, subversive, exciting, tense, and topped with excellent performances — Freaky turns the slasher sub-genre on its head to present us what is hands downs one of the year's best horror movies. It's genius lies in how it mixes slasher tropes with large doses of humour, derived from teen comedies, yet never falls into the trap of either, emerging as a brilliant horror-comedy with its own unique identity that will no doubt be aped or will influence others for years to come — writer-Director had also done well with his recent Happy Death Day franchise (he's becoming quite adept at caving his own niche and this is even better). Also, there are several neat homages to erstwhile slasher icons (watch out for the weapons of choice) that will come as a treat to horror fans. As for Vince Vaughn, he gets each minute gesture, tonality, and voice modulation spot on, and deserves an Oscar nomination no less just like Johnny Depp had received for Pirates of the Caribbean. Often, these performances are overlooked in favour of the the more dramatic ones, but sometimes, they're tougher to do & could easily become caricaturish or go overboard.

4.5/5 stars

Indonesian horror movie Impetigore is hands down among the top five or six horror movies I've watched from 2020, accentuated by some of the most haunting camerawork, one of the most unnerving background scores, and a persistently chilling atmosphere courtesy some shrewd lighting. Most importantly, Writer-Director Joko Anwar merits multiple accolades for penning a script that's as consistently unpredictable as its spine-tingling and nerve-wracking, and then narrating the heck out of it with all the eerie visual finesse that a subversive supernatural-horror film like this demands. As for the climax and the buildup to it...well, let's just say that you wouldn't believe it till you experience it.

4.5/5 stars

Tarantino meets Guy Ritchie meets Coen Brothers, but walks away with its own idiosyncratic identity. This one is easily the best Korean film of 2020, accentuated by indelible characters, unbelievable unpredictability, earth-shattering twists, a dark criminal yarn, darker humor, culminating in a one brilliant piece of cinema.

4.5/5 stars

Tamil movie Kannum Kannum Kollaiyadithaal is a smooth, smart, brilliant, and thoroughly entertaining heist film, which keeps you hooked despite its lengthy runtime and rattles you with some truly jaw-dropping twists. Some minor plot-holes and a bit of lazy editing, especially in the beginning, notwithstanding, this one is so much fun and the characters leave such an impression that you not only wouldn't mind embracing it all, but would also probably be tempted to watch it again there and then.

4.25/5 stars

Hands down not only one of the DC universe's best of all time (on par with The Dark Knight Trilogy and another animated classics like The Flashpoint Paradox and Under the Red Hood) — animated or live-action, direct-to-video or theatrical release — highlighted by exemplary world-building, excellent characterization, crisp storytelling, and stupendous action scenes. Whether you've loved this story arc from the comics or not, regardless if you're a fan of superhero movies or not, Justice League Dark: Apokolips War is just an A-grade action movie sure to electrify viewers across all ages and demographics. If I had to nitpick, then a few key moments in the climax fight sequence could've been better drawn out, but that takes nothing away from a wildly entertaining film, which strikes the perfect balance between a dark, almighty adversary and good, ol' fashioned heroism.

4.25/5 stars

Quirky, cocky, bratty, brash, unpredictable, darkly humorous, wildly entertaining, and brimming with idiosyncratic, indelible characters and quotable lines — The Gentlemen brings Director Guy Ritchie roaring back to just how we love him (a la Lock Stock and Two Smoking Barrels, Snatch, and The Man from U.N.C.L.E.) and where we love him (read Brit gangster-comedy territory). Moreover, it's chock-full of fantastic performances, led by Matthew McConaughey, and wonderfully supported by Colin Farrell, Hugh Grant, Chalie Hunnam, Michelle Dockery, and Henry Golding. Pity I had missed this in the theatres earlier this year, but better late than never. And Mr. Ritichie, please continue making movies like these rather than letting big Hollywood studios tarnish your sensibilities and alienate your fans with overblown snoozefests (not spectacles) like King Arthur: Legend of the Sword and the Aladdin reboot.

4/5 stars

A truly unique piece of Indian cinema, shouldered by arguably the best leading male performance of 2020, where Anil Kapoor exhibits his entire mainstream, dramatic, and artistic range altogether to remind us why he's one of the greatest ever to frace the silver screen — Netflix's AK vs AK is a gleefully dark and twisted mystery-thriller, made all the more enjoyable by the tightrope balancing act between reality and fiction pulled off by writer-Director Vikramaditya Motwane, who only loses his grip on proceedings ever so slightly in the middle. Anurag Kashyap, too, lends surprisingly good support in his second-fiddle eponymous role. And the denouement completely pulls the rug from beneath your feat. Easily among the best Indian movies of 2020 in a year that has been starved of them due to delayed released, theatrical shutdowns, and OTT dumping.

4/5 stars

Want to see how you build an entire narrative around two pigheaded men, with triggered egos and the baggage of their past, who'd go to any lengths to destroy the other, yet are pretty misunderstood, decent human beings deep down — watch the Malayalam film, Ayyappanum Koshiyum. Could've easily been trimmed by 30-40 minutes (Ranjan Abraham's editing is quite an issue), but otherwise, it's brilliantly written and directed by Sachy (what an achievement in only his second directorial), and enacted by Prithviraj Sukumaran and Biju Menon to keep us clutched in a vice-like group for nearly three hours without the need of a single song or mass moment.

4/5 stars

Pixar's Onward is truly as magical as the trailer suggested, filled with all the adventure, hope, positivity, and kinship you'd expect from a fun-family entertainer such as this. It takes a bit of time to get going, but it's a blast once it does.. Also, some scenes appear slightly derivative of classics like the Indian trilogy Jones and LOTR franchise, but you end up realizing that writer-Director Dan Scanlon and his co-writers, Jason Headley and Keith Bunin, are paying heartfelt homage to those classics more than anything else. And the climax with that dragon and the hero realizing his full potential is the stuff that would've been talked about for years had this movie run its course in theatres before its box-office business was affected and it met an early end due to the coronavirus pandemic. But you can still savour all these moments online, if you, like me, were among the many unlucky ones to miss this magical gem in cinema halls.

4/5 stats forward

No true Hindi-cinema fan can or should miss Kaamyaab — a perfect tribute to the actors who make the heroes and superstars of Bollywood look better and shine brighter, and who made movies frm the 50s to the 90s so entertaining for all of us. They remain in the shadows, never get a glimmer of the limelight, are rarely credited for a film's success, and not even their actual names are known to everyone — and these emotions are captured to the T in the film, taking us down a fantastic nostalgic trip, accentuated by a National Award worthy performance frm Sanjay Mishra . If u really lovw Hindi movies from a simpler era, then ensure that you watch this in a theatre and make it work at the box-office.

4/5 stars

Netflix's Mank is as profound a love letter to 1930s Hollywood as one could wish for, replete with everything good, bad and ugly (just like true love usually is) that set the foundations of American cinema, which we've all grown to love, buoyed by another stellar act from Gary Oldman in the eponymous role (though I don't see him winning the Oscar this year before Anthony Hopkins and Chadwick Boseman) and David Fincher's surefire direction. It's been nominated for ten Oscars, and despite its length being a slight issue, is an infinitely superior choice than the trite favorite, Nomadland. Honestly speaking though, this will be purely gold for those who've grown reading and following everything about the history of Hollywood — for others though, it may not hold much interest and might even prove a tad difficult to follow. Since I belong to the former category, it was nothing short of a magical experience for me.

4/5 stars

Telugu film Bheeshma is a total blast from start to finish. Yes, it's far-fetched, yes, there are flaws, and some scenes demand a major suspension of disbelief, but it's also the kind of movie where you wholeheartedly ignore any gripes simply because of how darn entertaining the entire experience is. What shines the most is the setup of several scenes and the dialogues underlining them (full marks to Venky Kudumula both as the writer and Director), leading to copious rib-tickling results. Though masquerading as a masala film on the surface, this fits much better into the bracket of a family comedy, and a laugh riot at that (language no bar). The icing on the cake is Nithiin's effervescent performance, who's in brilliant form in every frame, and is well supported by the gorgeous Rashmika Mandanna and the rest of the cast. Don't miss this in the theatre if you want to have a really good laugh.

3.75/5 stars

With terrific use of a lockdown theme, amplified by edge-of-the-seat tension, nerve-wracking moments, and performances that make us care for the characters in what is essentially a 2-act play, Netflix's new Korean movie, Alive, arrives like that survivor who keeps adapting (no pun intended) amidst the overcrowded rot (again, no pun intended) of zombie films, proving that there's always scope to dish out something fresh yet exciting when the audience is least expecting it. While it owes its genesis to 2018's The Night Eats the World, it takes that core premise and runs wild with it in ways that its French predecessor could never dream of. It may be no Train to Busan, but like that masterpiece as well as the brilliant web series, Kingdom, Alive once again proves that if you want some fun yet meaningful zombie entertainment, then wait for the Koreans to deliver. A great place to begin for those who're not well-versed with this sub-genre of horror and a huge welcome sign for those who love it.

3.75/5 stars

As poignant with its emotions as its arresting with its twists, one of 2020's best courtroom thrillers.

3.75/5 stars

Tamil film Psycho (yes, the movie begins as a homage to the greatest suspense Director of all time, Alfred Hitchcock, though it's more in the vein of Korean horrors/thrillers, and some of the best ones to boot) is a gory, visceral slasher, with copious tense moments, extremely well-researched characters (especially that of the psychopath), a gripping storyline, good performances (Nithya Menen and Rajkumar Pitchumani stand out), and astute direction by Mysskin, who once again proves to be one of the best Kollywood Directors going around. The film dives deep into the psyche and traits of a full-blown serial killer (the homework is impressive), but never once allows all that information to take center-stage before the plot, actors, and flow, which is its biggest achievement. The script is a tad uneven at the beginning and end (a blind man driving a car wasn't required for instance), but for 90% of the way, it rivets you to your seat and keeps you guessing, which, in itself, is far more than you can bargain for when a brave horror/thriller hybrid of this kind is attempted in Indian cinema. Maybe not as great as Mysskin's 2017 masterpiece, Thupparivaalan, but an excellent movie nevertheless.

3.75/5 stars

Starts as a routine heist movie, and then, two thirds of the way through, transcends into one of the best bare-knuckle chase films ever, filled with grit and tension.

3.75/5 stars

The Mortuary Collection offers a fine blueprint on how to make a horror anthology movie, especially with the way each story turns out to be individualistic and exciting in its own way while simultaneously trying up to a larger plot device connecting them together. Just misses the boat among my favorite horror movies of the year, owing to a slightly underwhelming third act.

3.65/5 stars

Despite being a poignant drama, British film The Father doubles up as an underlying mystery purely because of how well Director Florian Zeller puts us as viewers into the mind-space of a geriatric suffering from rapidly progressive dementia, all but making is experience what her lead protagonist does. Of course, it wouldn't have been remotely possible were it not for Anthony Hopkins' best performance hands down since Silence of the Lambs. It lags a bit in the middle, but is still infintely better than the trite Nomadland, which is touted to take home Oscars for Best Picture and Director. This has been nominated for six Academy Awards, and as sympathetic we all are towards Chadwick Boseman's untimely demise, it would be a travesty if Hopkins doesn't win his second Oscar.

3.65/5 stars

Superman: Man of Tomorrow takes a more traditional approach to the Man of Steel's origins, but that's a good thing as it takes us right back to how Superman came to terms with his identity as an alien (Kryptonian) and even delves into how he landed his costume and Martian Manhunter being his first kindred ally on Earth. The animation is as usual top-notch for a DC animated movie, the action is exhilarating, the characterization, engrossing, and with a bit more efficiency in the screenplay and narration, it could have been one of DC's best yet. Nevertheless, it is very, very good as a standalone superhero-origin film, animated or otherwise.

3.65/5 stars

In Fatman, the legendary Mel Gibson plays the coolest, grittiest, most badass version of Santa Claus you've hitherto seen and like only he can, yet imbues the character with just enough of the warmth, cheer, and fuzz he's known for. The plot is no great shakes, but there's a smattering of subversion of Christmas tropes and perversion of that jolly spirit, which, coupled with Gibson's badassery and a strong supporting act from Walton Goggins, is more than enough for a dark, twisted version of your standard 'Ho, ho, ho' flick.

3.5/5 stars

World War II movie Greyhound is an extremely well shot, lavishly mounted spectacle, with some supremely good camerawork, editing, sound effects, and an ever-reliable Tom Hanks. The skirmish on the high seas is a sight to behold, especially the submarine and torpedo shots, and Director Aaron Schneider, along with his adept technical crew, succeed in extracting good tension and no small amount of thrill with these sequences. That being said, it would've been nice for the narrative to share a bit of attention with the remaining three destroyers and convoy of Merchant Navy vessels rather than concentrating all focus on the lead destroyer during the fated voyage in the midst of the Battle of the Atlantic. That also being said, this was tailor-made for the big screen and would've probably been better enjoyer on it.

3.5/5 stars

Netflix's new horror movie, Vampires vs. the Bronx, is a fun-filled throwback to teenagers taking on blood-sucking monsters a la Fright Night (1985), The Lost Boys (1987), and Near Dark (1987), or even in the vein of the OTT platform's very own Stranger Things. Following all the vampire rules and tropes, it still manages to infuse enough of energy to go with the goofy entertainment to keep things engaging while also adding some subtle subtexts about gentrification and classism. The climax could have been better and the vampires could've posed a bigger challenge, but this is as good an option as any if you're looking for some new fare this Halloween.

3.5/5 stars

Smartly subverting both rom-com and time travel (read casual time loop) tropes, Palm Springs dexterously merges both genres to come up with fun-loving, heartfelt, and pretty intelligent film that's elevated further by crackling performances from lead pair Andy Samberg and Cristin Milioti, not to mention fantastic cameo by the ever-reliable J.K. Simmons. Despite a few uneven creases and plot holes, this one has rightfully snagged its dual Golden Globe nominations, though, going by how the Academy Awards panel thinks, I don't see it bagging any Oscar nominations — would be a pleasant surprise if it did.

3.5/5 stars

Nawazuddin Siddiqui is on fire as a man who fools the world, but wins our hearts in Serious Men — a caste-based, smoke-and-mirrors game, presenting a not-so-serious take on a serious issue, in a seriously goid manner with some minor hiccups along the way. Nawaz is excellently supported by Indira Tiwari, Nassar, Sanjay Narvekar, and Shweta Basu Prasad, though the surprise package is Aakshath Das, delivering arguably the best performance by a juvenile since Zaira Wasim in Secret Superstar. Veteran Director Sudhir Mishra also brings in all his expertise to juxtapose casteism against a charade, performing a commendable tightrope act. That being said, the climax is too tepid and convenient, the finale moments are too pseudo-intellectual and abstract, the movie could have been trimmed by 15-20 minutes, and two sex scenes in what is essentially a family film were completely unnecessary.

3.5/5 stars

A very interestingly subversive take on the origins of Superman, touching upon diverse themes such as the effects of unlimited power and self-righteousness eventually leading to autocracy, All in all, Superman: Red Son presents a fascinating alternative reality of what could've happened had the Man of Steel's space pod dropped in the Soviet Union instead of Kansas, Texas, USA, against the backdrop of several key historical moments and figures, plus, some astounding animation (as is expected from DC animated movies), but could've been even better had said historical moments and the action ensuing from them been better fleshed out.

3.5/5 stars

Amazon Prime's Shakuntala Devi is a brave and bare look at every unbelievable as well as uneasy aspect of its enigmatic, eponymous character, and the faithfulness itself makes it better than so many Bollywood biopics. And to top it off, the genius of acting meets the genius of mathematics and the union is a match made in heaven — there isn't a better word other than 'flawless', which I can find to lavish praise on Vidya Balan's performance, but one such word should be seriously invented. That being said, the disjointedness in the beginning, abruptness at the end, and stubbornness to not dive further into certain vital aspects of the math prodigy's journey, make it stop just short of being a great film, even though it's a great character study. Worry not though, because whenever the movie falters, Vidya is there to shoulder it with her brilliance, ably supported by Sanya Malhotra and Amit Sadh.

3.5/5 stars

Dark, sinister, gruesome, even if slightly contrived — Malayalam film Forensic benefits from a refreshing scientific approach to criminal investigation and a killer (literally and metaphorically) first half. The second half may dip in comparison, and the big reveal may disappoint a bit as far as the killer's motivations go (at least to those who've watched tons of movies on psychopaths), but the overall experience remains edgy and engaging to the end, not least due to a terrific ensemble cast in fine form, led ably by Tovino Thomas. You walk out of the theatre looking forward to the sequel, neatly set up at the end. A word of caution though: Ensure that there are no kids around while watching this.

3.5/5 stars

Despite a very cliched climax, some predictably simplistic writing, and the film losing a bit of steam in the middle, Netflix's Extraction is nevertheless a solid, hardcore action movie, where Chris Hemsworth swaps Thor's hammer for deadly gunfights, gruesome hand-to-hand combat scenes and high-stakes violence (he may have just found his groove once he bids adieu to Marvel), guaranteed to satisfy both action movie-buffs craving for a throwback to Schwarzenegger, Stallone, Willis, and Van Damme's brand of cinema as well as those eager to see what else the Russo Brothers can offer outside of the MCU's Avengers template. It's also great to see Randeep Hooda get such a prominent role in a major Hollywood production, almost going toe-to-toe with Chris, despite being the supporting lead. The stunt choreography and fight scenes are very well staged, no doubt by Director Sam Hargrave's expertise as a stunt director on films like Captain America: Civil War and Avengers: Endgame. The cinematography and production design are also top notch, exuding the feel of a combat area, while the BGM, especially a scene where classic Bollywood melodies play in the background, is easy on the ears.

3.5/5 stars

Netflix's new animated film, The Willoughbys, employs idiosyncratic humour to balance dark comedy with familial themes, which, though not meant for kids below a certain age, is sure to entertain both teens and grownups in a family. The crackling start loses some steam midway, but picks up well again in the final act to offer a gleefully twisted deviation on the importance of family.

3.5/5 stars

There's nothing novel or anything imaginative for that matter to set the new Netflix film, Spenser Confidential, apart from erstwhile genre entries, but what makes it an immensely entertaining crime film all the same is how well Director Peter Berg sets up the story, defines his characters and joins the dots, all the while keeping things moving with a brisk pace, effective doses of humor, and a handful of simple yet exciting action scenes, which make an impact at just the right moments. It does help though when you have a finely-tuned ensemble cast, comprising Winston Duke, Alan Arkin, Iliza Shlesinger, Bokeem Woodbine, and, especially, leading man Mark Wahlberg (who's collaborated with Berg four times before, including on the superlative Lone Survivor), who has the biggest blast and most fun of all, ensuring that we can't help but enjoy this derivative ride with him. A sequel, too, is hinted at the end, and it's certainly one I'd like to see.

3.25/5 stars

There's no denying that The Way Back is derivative and dives into several cliches of the underdog sports drama, but the film just has so much of heart and positivity, and Ben Affleck is in such good form, that you don't mind tagging along and rooting for this recovering-alcoholic coach and his team all the way. Nothing new, but a very pleasant watch if you're in the mood of something uplifting.

3.25/5 stars

Those who don't mind gross, offensive, politically incorrect comedy, with copious political and racial subtexts, that challenge both your morality and thought, will love Amazon Prime's Borat Subsequent Moviefilm or Borat 2, which pretty much ticks all these boxes with mostly hilarious results even if the plot is pretty uneven and a few of the gags and jokes feel slightly repetitive. To that effect, it all but follows the trail of the first Borat that had released fourteen years ago. So if you appreciate that film or Sacha Baron Cohen's brand of comedy in general, just as I, then go for this. It's quite a funny ride.

3.25/5 stars

Australian horror movie Black Water: Abyss may not be a patch on the first Black Water that released in 2007, but it's tense and exciting enough, with a decent buildup and some genuinely good jump-scares, to not only hold its own, but also classify as a welcome return to form for genre Director Andrew Traucki (the first Black Water and The Reef) after 2013's abominable The Jungle. You do wish that it had more bite, especially with similar cavernous movie (The Descent, The Cave) or crocodile/alligator-themed films (the original Black Water, Lake Placid, Rogue, Alligator, Crawl, Dark Age) done so well in the past, but, nevertheless, it goes down as one of the better croc movies or animal horror films in general.

3.25/5 stars

Bhoot Part One: The Haunted Ship ticks most of the boxes needed to finally offer Bollywood moviegoers a good horror film after years (despite the climax being a letdown and ending quite abruptly). Four prime factors keep the film engaging — a perpetual chilling atmosphere extracted from brilliant camerawork, some smart editing, excellent application of jump scares sans making them appear recycled, and one of the best usages of sound effects and BGM in Bollywood as a tool to evoke terror. Also, Vicky Kaushal carries the movie admirably, proving Uri was no fluke.

3.25/5 stars

Though nothing new to offer, this is still a relatively engaging horror movie with some good scares.

3.25/5 stars

Think Korea's version of Taken meets John Wick minus some of the tight narration; this one would nevertheless prove quite enjoyably for hardcore action buffs.

3.25/5 stars

HongKong film Better Days works as both a touching romantic story (almost functions as Bollywood movie in this aspect with its opposites-attract plot device) and a telling, incisive statement on the insidious effects of bullying, especially on young minds. That being said, it needed to be 30-35 minutes shorter. That also being said, it's far better than the pretentious, incoherent Danish entry Another Round, which has also been nominated for the Best International Feature Oscar, and is the frontrunner to take home the award.

3.25/5 stars

Disney Pixar 's Soul has a brilliant concept, backed up by some pretty good ideas in its screenplay, but sometimes, it just takes a tad too long to make a few of its points, some of its points also feel a bit too preachy, and more than a couple of them reflect the moderny-day ideology of it being all right to be a slacker. To put it plainly, it has plenty of soul, but lacks some heart, which was balanced beautifully in Disney's earlier, Onward, released during the onset of the coronavirus — still the best animated film of last year along with Justice League Dark: Apokolips War. Honestly, I don't get what the big deal is all about with writer-Director-animator Pete Docter, who, while good at what he does, is far from great, IMO. Besides, Monsters Inc., none of his other three directorial have particularly wowed me.

3.15/5 stars

Antebellum is well shot, well edited, very well acted, has a brilliant concept, and is benefited by a few good twists. And no matter what anyone says, its subject is still relevant even today, maybe more so. That all being said, Gerard Bush and Christopher Renz's screenplay and direction make it seem like a second-rate cousin of the vastly superior Get Out. And while that properly fit into the horror genre, I'm wondering why this one was marketed as a horror movie, when it's an out-an-out thriller. Nevertheless, worth checking out at least once for the ideas it peddles.

3/5 stars

Keeping aside the obvious, 'In-Your-Face PROPAGANDA' (highlighting race issues and peddling agendas through a movie is where the fine line exists between social messages and manipulation — like some scenes here are totally out of context with the plot, which even the bleeding hearts would spot), Netflix's Ma Rainey's Black Bottom is a good enough adaptation of a pertinent chapter in Black history and the stage play of the same name, which would prove even more enjoyable to genuine blues lovers. Buoyed by jaw-dropping performances from Oscar winner Viola Davis and Chadwick Boseman (Black Panther in his last role), this one is up for multiple Golden Globes and is another hot Oscar contender. If there's any justice then Davis should be a shoo-in for her second Academy Award, but I'm guessing the panel would fall for the virtue-signalling, SJW trap and give it to Frances McDormand's cantankerous act in the snooze-fest, Nomadland.

3/5 stars

If you wish to study a textbook example of an acting legend and bonafide superstar elevating standard material and done-to-death plot above any position it has any right of attaining, then feast your eyes on Sophia Loren in Netflix's Italian film, The Life Ahead, written (co-writer, Ugo Chiti) and directed by her son, Edoardo Ponti. Doubly special for diehard fans like I (brought back vivid memories of Two Women, The Cassandra Crossing, Marriage Italian Style, Yesterday Today and Tomorrow), this has been nominated for the Best Foreign Language Film at the Golden Globes, and should get a not in the same category at the Oscars later this year, though it's unlikely to win either as it's a far cry from the best of neo-realism that Italian cinema has offered in the past. That being said, it's Sophia Loren's show all the way, and rightly so, given how she was one of the prime artistes responsible for popularizing Italian movies in Hollywood back in the 50s.

3/5 stars

Shoudered by a mercurial performance from the immensely talented Elisabeth Moss (A Handmaid's Tale), The Invisible Man is a tense, smartly reimagined, and very different take on the 1933 big-screen adaptation of H.G. Wells' classic horror tale, peppered with excitement, unpredictability and some fine moments, until its far-fetched, ridiculous, and terribly flawed climax, which comes dangerously close to undoing all the good word that preceded it.

3/5 stars

Netflix's The Kissing Booth 2 may be ridden with cliches, but it embraces them as a badge of honor (much like its slightly better first installment), unaplogetically playing to the gallery, and breathing a fresh, fun vibe (boosted no doubt by its charmingly youthful ensemble cast) into a done-to-death formula as impossible as it may seem. If you're a sucker for teen rom-coms, then this one is sure to be a frothy delight for you. If though, like me, you're not particularly fond of the genre, then this franchise provides a welcome diversion to all the serious stuff one has a predilection to consume.

3/5 stars

Khaali Peeli works well as a lighthearted masala entertainment, bringing back 70s & 80s nostalgia, with even a lost-and-found theme to boot. Ishaan Khatter's heroism is pitch-perfect, Ananya Panday is quite good as the feisty heroine — she's improved immensely — their chemistry crackles, and is enough to hold the film together through its uneven portions. Also, Jaideep Ahlawat once again slips into his role like a chameleon and Satish Kaushik's cameo is a hoot. Of course, it isn't among the best mass entertainers you'll come across, but is still a pleasant way to pass the time with the family, especially if you dig a "PROPER HINDI FILLUM". I say, ignore the haters, most of whom haven't even watched this, and check it for yourself.

3/5 stars

Despite being nothing new and the plot having more than its fair share of loopholes, including the central premise should you wish to pick it apart, Run is tightly directed, crisply edited, and excellently acted by the two leads — Sarah Paulson and Kiera Allen — which combine to serve you a decently engaging thriller, where the tension swings to and fro between what is essentially a 2-person act. In fact, you could also view this as a less-demanding, slightly watered down version of the classic, Misery (1990), albeit with a kid.

3/5 stars

Choked has a uniquely engaging premise, is entertaining to a point, rides on the power of its performances, and neatly weaves the horrors of demonitisation, suffered by the common man, in the backdrop. However, needless sub-plots, unwanted backstories, and the Director's obsession with pseudo-artistry that serves little purpose to the main plot, coupled with excessive propaganda later on, almost "choke" the fun out of what could have been an out-an-out winner 4 Anurag Kashyap and Netflix.

3/5 stars

For those who enjoy simple yet serious family dramas, and don't mind investing time and focus in a languid narrative, the new Netflix film, Tigertail, is sure to satisfy your effort. Just be sure to not expect a groundbreaking work of art, and you won't be disappointed. The flashback scenes in Taiwan are easier on the eye (not if you aren't familiar with subtitles) while the present-day moments are a more demanding watch, but not without their own fulfillment. That being said, the film really has nothing new to offer despite its attempts (or conviction) that its a profound human drama. Though its filled with tender moments, you wish the rewards for your patience were bigger. Plus, the snail's pace could get to those not used to it. Tigertail is certainly not without its touching sequence, more than a few of them, in fact. The only things is that you need to exhibit copious restraint to allow the film to move you, and when it does, you need to also temper your expectations a bit.

3/5 stars

Netflix's new movie, The Devil all the Time, is strictly meant for those who can sit through extremely somber and slow dramas, and even they, too, may find it difficult at times to crawl with the nigh motionless pace. It also doesn't help that parts of the narrative are uneven and the reward isn't all that enthralling as you'd expect for your efforts. That being said, the family dynamics, perverse humanity on display, and morbid themes are not to be missed by those accustomed to such niche cinema, made all the more engaging by Tom Holland, Bill Skarsgard, Sebastian Stan, Riley Keough, and Jason Clarke's performances, and especially Robert Pattinson, who knocks it out of the park in his cameo.

3/5 stars

Not a patch on Train to Busan, but a moderately enjoyable zombie horror all the same.

3/5 stars

AmazonPrime's One Nigtt in Miami begins as a fascinating conversation piece in a secluded environment a la 12 Angry Men and others of its ilk but loses steam midway, only Regina King's direction and Kemp Powers' screenplay to pick up in the last act. The inconsistencies in the plot and narration notwithstanding, it's absorbing to see four young, talented actors, essaying four celebrated real-life figures — Cassius Clay (Muhammad Ali) Malcolm X, Jim Brown, Sam Cooke — as they raise pertinent, thought-provoking questions on race and social dichotomy that are as relevant today as it was back then. Still, don't believe it's worthy of it's multiple Golden Globe and Oscar nominations when there better #movies out there.

3/5 stars

Smartly blending origin stories of some of the most famous superheroes going with a darkly styled noir detective tale, Netflix's latest Spanish hit, Unknown Origins, should satisfy, comic-book geeks, superhero-movie fans as also those starved of a good mystery movie. However, for all its ambition and good execution, most of its efforts are undone by the disappointing "big reveal" and the underwhelming climax. All said and done, it's still worth checking out as a very different, somewhat innovative superhero film.

3/5 stars

While the plot and narrative fall off the rails in the final act after maintaining their grip most of the way through, the same can't be said about the top-notch swordplay scenes and high-caliber acting.

3/5 stars

Unlike erstwhile efforts like The Old Guard, Project Power raises the bar when it comes to both action and VFX for Netflix original movies. Director duo Henry Joost and Ariel Schulman make excellent use of Michael Simmonds's camerawork to put us in the cockpit of every adrenaline-pumping, butt-kicking scene that there is, and bringing it all together though, even when the film falters at times, are Jamie Foxx's intensity, Joseph Gordo Levitt's understated comic timing, and above all, Dominique Fishback's career-making act. There's no to ways to put it mildly though: Writer Mattson Tomlin's script looks heavily borrowed from Chiyaan Vikram and Nayanthara's 2016 Tamil hit, Iru Mugan — not just the basic idea (which can always happen), but the core premise of how the genetically modified pill functions, how long it functions for, what it does to its user, and the corrupting effects it has, which make it hard to not raise eyebrows. The climax, too, is pretty noisy and jumbled. Nevertheless, this is a pretty entertaining subversion for those seeking alternate material within the superhero mold.

3/5 stars