• In Action

    In Action

    When it comes to action films, the budget is always an essential commodity. Certain set pieces and stunts need that extra dough to really make them all the more believable and real. With “In Action” director duo Sean Kenealy & Eric Silvera want to prove that the aforementioned statements are wrong. In their audacious new film, the two directors (and the only actors in the film) set out to make an action movie on such a small budget that you would…

  • Afsos



    The black comedy here is so flat and directionless that you can actually feel how uncomfortable and uninterested everyone involved in this show seems. Goes to show that a good idea doesn’t always translated into good work.

  • Qarib Qarib Singlle

    Qarib Qarib Singlle


    Whoever did the audio dub of the film failed at their job miserably. The dialogues are all out of sync and all the charm that the two leads have goes out of the window.

  • The Woman in the Window

    The Woman in the Window


    They say “An empty mind is a devil’s workshop.” But what about a mind that’s brimming with thoughts? A mind that simply has no control over this overflow of information and that nothing seems to put an end to it other than a story that takes up a form of its own? In Joe Wright’s “The Woman in the Window,” Amy Adams plays Anna Fox – a child psychologist suffering from agoraphobia (a condition where a person has fear of…

  • The Human Voice

    The Human Voice

    Burn, baby burn!

  • Dwelling in the Fuchun Mountains

    Dwelling in the Fuchun Mountains


    The camerawork here is so sublime that I found myself wondering how certain images were conceived. The fluid, almost trance-like movement of the camera greatly complements the change of time and seasons.

    There's also a fine imprint of the Chinese master filmmaker Jia Zhangke wherein youth alienation and contemporary society malaises due to capitalistic explosion in the country are brought to the foreground.

    That said, the acting that ranges from bad to mediocre at best keeps the audience at arm's length from the characters and their feelings. Making it pretty hard to get emotionally invested in the turmoil and pain that is seen here.

  • Oxygen



    French director Alexandre Aja returns to native-language filmmaking after more than two decades. His breakout genre hit ‘High Tension‘ landed him half a dozen Hollywood remakes and big-budget outings before he decided to make ‘Oxygen‘ (Oxygène) – a single-location thriller with the ever-so-dependable Mélanie Laurent.

    ‘Oxygen’ works in the same realm as Rodrigo Cortés’ ‘Buried.’ Wherein, it almost plays out inside a cryogenic pod with only phone calls and a really advanced AI named M.I.L.O (voiced by Mathieu Amalric) having…

  • The Hitman's Bodyguard
  • Things Heard & Seen

    Things Heard & Seen


    There is something truly unremarkable about how this film actually pans out. On paper, Things Heard and Seen might tend towards the kind of horror I dig. In spite of the overtly straightforward haunted house setting I like how the directors subvert it with a evil within pathos. However, the film so sluggishly meanders through its various terrains that when you actually get there, it doesn’t seem all that terrifying anymore. Perhaps, a better editor could have helped here!

  • Behind Her Eyes

    Behind Her Eyes


    So much for the twisted ending. So boring till it gets there.

  • Red Post on Escher Street

    Red Post on Escher Street


    It’s not a good call to say ‘Sion Sono’ is back because he does this hit and miss so often that one simply can’t put their finger on every new film he makes. However, Red Post on Escher Street is definitely one of the hits. It’s more balanced, less messy and really emotionally involving.

  • Effigy: Poison and the City

    Effigy: Poison and the City


    As far as period dramas are concerned, getting the setting right is not a problem. For a film set in the 1800s, “Effigy: Poison and the City” gets that part perfect. Also, to really enhance the aesthetics of the entire project, director Udo Flohr mostly shoots in daylight – opting for the BBC costume drama look rather than the grim, grainy one seen in most films set in that era. While this gives the modest-budgeted German historical thriller an extra…