Devi Prasad Mishra

There is essentially French libertarian madness and self destruct that elevates the cinematic level of the story telling and character building. American Beauty ironically is not in American tradition of film making. That's why it's a class apart. The characters are clueless where desire is indistinguishable from violation and violence and happiness looks achievable but remains a distant dream. An abstract structure and the indefinite pops out the muddle. A real all time gud work.

I don't know if one really needs this much of sex on screen. It's like drinking water every now and then. Too much, too frequently. But Latin Americans are always ahead of any one in story telling. This the Americans need to learn from them. And each of them is an absolute performer. Wow!!

The film is metaphorical reminding us of the invisibilised assassin that the corporate is. It stops at nothing bloody ripping apart the civilisation . A rarity when an American horror carries some sense. Violence is perspectivised in American Psycho.

A good script but a benign and insipid structure takes away a lot and dissipates the impact. Something horribly amiss.

A shoddily executed movie that is a waste. I don't know how I managed to see it to the end. I repent. We spend millions on fake art and mediocre projects.

The Hater dissects the sustenance of Neo Nazism that is sapping the European psyche. The Hater is a grueling narrative of Islamophobia through a character who at best can be described as deviant, murderous, muddling and dark. He is prejudicial, ahistorical and revengeful scheming for destruction of liberal ideas and edifice. A very timely layered film of intrinsic cinematic worth.

Badly woven script that drudges on. Too many characters rip it apart. Nawaz needs to work on his diction. Radhika Apte stands out in her deglmorised darkness of resilience. She persevers and wins. The sound in the film sags. The film relies too much on dialect that many a time is overexploited. A clichéd murder mystery with predictable secrets.

Craftily edited, elegantly cinematographed, passionately acted, freely scripted, cinematically fabricated, this is the film of the rise and revenge of ravished womanhood. It resurrects the feudal misogynistic Bengal. Feminist to the core it reminds of Stree. Done by a woman director it is woman power at its acme.

Choked is a film of lost possibilities. It could be anything but it pulls itself down to rank mediocrity. The happy ending glosses over the grim for no obvious cinematic or social reason. The potential of the political plot is so wilfully squandered away. An imaginative beginning soon turns into a whimper. Loss, irretrievable! Anything that stands out is the spilling smelly drain.

A film about a guilt heavy past that secludes a woman and segregates her from her linguistic moorings. Self abnegation is now her emancipatory tool. Collective sins weigh so heavy on a banished apologising soul.