Reviews

I loved the close-ups. Amitabh Bachchan's aging, watery eyes, his perfect dentures, and his lopsided hanging mouth convey a wealth of emotion and life experience. So also the close-ups of Deepika Padukone's subdued indulgence towards her crotchety father, and Irrfan Khan's obvious exasperation as well as his ill-disguised mirth at his own harmless mischief.

The writer has meticulously followed through with details that are dangled here and there—a grown woman forever dressed in a nightgown, for example, or the image of the sitar—the film opens with sitar music, returns as Amitabh Bachchan plays the instrument, and fleetingly shows up as a visual image in the portrait of the woman, presumably Piku's deceased mother of whom we hear so much.

There is much to love in this beautiful film for every one of us who has known what it is to see a beloved elder grow gradually impossibly dependent on us. That is the story part, which is really strong. If I were a very young girl, I would have sat my mother down and told her the story, leaving out nothing of the enchanting and memorable episodes that follow one another, lighting up our imagination with the luminosity this film achieves in the shots of Delhi traffic or the Varanasi skyline.

Piku works exceedingly well as a film. The interiors of all the homes we see tell their own stories. People are dressed for the part. They eat food that we can almost smell and taste, and even feel the frustration of the characters when the first bite of the crisply fried fish lacks salt.

All of the characters deliver their punch lines with perfect timing. I am going to enjoy for a long long time that episode where Syed and Piku have a disagreement about why he said "hmmm." That is great comic stuff, just one of the many hilarious moments I hope to recall every time we talk about this jewel of a film.

I saw it twice within the space of a week. I might go again, because the DVD version is not likely to do this film justice.

Everything about "Margarita with a Straw" is worthy of note. I loved the storyline, the treatment of it, the portrayal by the actors of their respective characters, and the development of the theme of physical disability and how individuals cope and live their lives to the fullest. When the film ended, I did feel a lump in my throat, especially when I read the dedication by Shonali Bose.

I personally understood a few things better about cerebral palsy after I saw this film, and that has made an impression on me. Yet, when it was all done, I had a feeling that I had seen a fine documentary rather than a feature film. The flat realism of the narration distanced me from the destinies of the characters, and the jagged pacing of the screenplay hindered a deep involvement with the emotions of the very attractive characters.

I wondered, too, why the main characters had to experience a full hand of exceptional circumstances—being affected by cerebral palsy, she is bisexual, her romantic partner is blind, and her mother is in a serious situation. These loaded circumstances of the main character's life made the film's focus thin. As for the acting, kudos to just about everyone.

I was pleasantly surprised that the tiresome Hindi film style of portraying a person with disablities was entirely dropped, and the director wisely avoided histrionics. I am glad I saw it, even if I don't rate the film as great cinema.

As "Broken Horses" was drawing to a close, I formulated my review. I had just one sentence: "You could do worse than spend a totally free evening --when there's no cricket, even--watching this movie."

It is just a yarn, spun without imagination, and that yarn isn't substantial enough to be woven into a unique design.

There were a couple of twists and turns, some modicum of suspense, many efforts to get the tear ducts opening, but all through I kept thinking, "This is kind of embarrassing." If the movie theater had been full, I dare say there would have been guffaws at the flat story-telling and the clunky dialogs. That would have amused me.

With movies on familiar themes you want slick treatment, snappy dialog, and a sound-track that tells some of the story without the aid of words. And in this movie where music is a major theme, I really missed the magic an original score and sound-effects can play.

That's it. You aren't likely to go bananas about any aspect of this film, except may be the photography. Having seen this, I am not dying to see "Parinda" either.

The disturbing picture of life for many in the Kashmir valley in today's world comes through with hard-hitting poignancy. Much of the movie is poetic and contains high drama, both qualities typical of Shakespeare's greatest tragedies, on one of which the plot-line of this movie is loosely based.

The unforgettable presence of Tabu overshadows everything, except perhaps Shahid Kapur's dramatic monologue with the noose around his neck. Kay Kay Menon is a marvelous character to dislike. And Irrfan Khan. What a role for him and how well he dramatizes it.

The symbolism of the separatist-extremist gravediggers digging their own graves is highly imaginative. I guess all the drama, bloodshed, mayhem, and underlying human condition could have come out of a production in the Bard's own time, given the final acts of many of his tragedies. Impressive portrayal by Tabu and Shahid Kapur of fractured family ties and equally the torturous bonds of blood. I give the movie lots of stars.

Much is going to be said about this film and so I limit myself to these random observations. See it. That's the experience.

It's a good time to be in India, if you enjoy movies. Lots of fresh perspectives, some fine acting, unusual story lines, outstanding use of technology.

The suffocating crowds of urban India, the cramped homes of people who are doing pretty well, the neighborliness that defines middle-class Mumbai, the tedium and grinding routine of life in a big city... but because it is life, there's joy and sorrow, love and longing, the lonely hearts and the hail-fellow-well-mets, children at street cricket, and aging parents flickering like candles in a storm.

Things that never go wrong, sometimes go wrong. Magic ensues for the protagonists of The Lunchbox.

Such an improbable story, and therefore so engaging.

Really, a charming "what if" tale.

The visuals. Oh, boy, the visuals. The close-ups.

And most memorably, for once untrimmed eyebrows on a woman's face, so real, so natural. When she smells her husband's shirts, you believe her.

The lunch-box gets your gastric juices going. Imagine feeling that you are actually experiencing the wafting fragrances of delectable spices in piping hot dishes. Imagine being able to go to a place of happiness, if only you knew that "sometimes the wrong train takes you to the right destination."

Stylish, modern, witty, truthful. A movie to remember. Nawazuddin Siddiqui is enchanting. Nimrat Kaul is stunning. Irrfan Khan is a master of nuance and gesture. See it on the big screen.

Marvellous story built around the hugely relevant subject of state violence against an individual, and the human need to seek and give forgiveness through learning the truth about a tragedy. Starkly made with impressive locales that create the right atmosphere for a story about grief, guilt, revenge, and forgiveness, this movie touches anyone who has ever wanted to have an explanation for the disappearance of a loved one through state violence. The characters are played with understanding and sympathy, with hardly a false note. Great uplifting moments of how things can and do turn around. I would put it on the must watch list, and if you are a high-school teacher, show it to your class.

A remarkable movie on contemporary themes of migration, education, integration, individuality, and dilemmas one faces.

The French have a style of realism that captivates and arrests you. What happened to whom is not the point of the film. These things could happen to anyone around you is.

Moving, honest, and with the illusion of a spontaneity, the narrative gains in truthfulness. The best of us are fallible, the toughest are vulnerable, and no system is good for everyone.

See the film if you've been to high school, or been a teacher in one. If you've felt out of place in your school because your color isn't right or your accent isn't right or your parents aren't cool, well, what can I say? See the film.

Rani Mukherjee is bewitching and heartbreakingly beautiful in her powerful portrayal of a woman who has experienced deep loss. As her husband, Aamir plays a rather believable cop for a Hindi film. His personal sadness adds an unexpected dimension to his "talaash". Kareena Kapoor's role has been created well, with enough off-kilter details to puzzle the attentive viewer. The cinematography is great. there are no gratuitous scenes of garish red-light glitz. some elements of the storyline do appear inspired by movies out of Hollywood but so what. At least it is not an overt or unapologetic remake. When the mystery of the film star's death and events leading up to it are being unraveled, the movie becomes too much of a talkie. I wish the director had "shown" rather than "told". Excellent supporting cast. Loved the crowd scenes for the care the production team has taken. All in all, worth the time spent watching it. good yarn, good acting, some nice touches, keeps you occupied for nearly 90% of the time. Flaw? drags towards the end.

Loved the movie, despite the divergences from the novel.

I laughed more than I expected to because Ang Lee has done a great job with the way dialogs are delivered, the timing of responses, and the intensely accessible facial expressions he has managed to extract from the younger actors.

Irrfan Khan as the older Pi is enigmatic and appropriately wry. He is an actor of magnificent understatement and terrific depth.

Suraj Sharma deserves every kind of praise because he has had to carry the film with probably only empty space to act with. Imagine, there's a projected animation of a tiger and a wide endless sea for environment. Suraj Sharma has done virtual one-man acting through much of the film to pull of something of a masterful debut.

I hope we get to see more of Adil Hussain. His character exudes strength and he conveys the character's love of family with exceptional sensitivity.

Then there's the ever-stunning Tabu, who appears fleetingly and is still utterly impressive.

Ang Lee thinks in light and color and movement. What a genius to convey what he imagines to millions via technology and a team of skilled professionals.

See this movie. It is the sort of movie that leaves you with images never experienced.