Kuttey, Review: Gulp Friction Quentin Tarantino can rightfully claim a patent to the format used in Kuttey: prologue, epilogue and a non-chronological structure, with the present merging with the past and the past merging with the present. The co-writer and director of Kuttey (Dogs), Aasmaan Bhardwaj was born one year after Pulp Fiction (1994) was released, bagged top honours at home and abroad, and attained cult status soon afterwards. Twenty-seven years after he was born, Aasmaan has made h...

Bhool Bhulaiyaa 2-Song launch at Imagicaa: How far will you go to watch a film song? Bhool Bhulaiyaa 2 is the second part of the franchise, the title of which means Maze or Labyrinth. Imagicaa is an amusement park situated at Khopoli, some 80 kms from Mumbai. The invitation from the Public Relations was tempting: 1.00 pm - Media assemble time at T-Series office, Andheri West   2:00 PM - Departure For Imagicaa, with Media   - Media to be segregated in 2 buses   5:00 PM - ...

Salman and Katrina come to Bharat Hotel Taj Land’s End, Bandra, is about 500 metres from where Indian superstar Salman Khan resides. It would take him exactly five minutes to walk to the venue, or two minutes on cycle, cycling being among his favourite indulgences. So why did he arrive at 2 pm for the launch of his home production, Bharat’s, title song, when the time on the invitation was indicated first as 11.30 pm and later delayed by half-an-hour? Only he knows. His fans and mo...

De De Pyaar De, Review: Differential calculus Some films begin on a positive note, start developing into potential winners, and then squander it all away, with inane, inept, insane, insipid, inchoate, infeasible, indifferent, inexcusable, incongruous and inconsequential writing. Most likely inspired by a play, American or Indianised, or a Hollywood romantic comedy, De De Pyaar De (Give Me, Give Me Your Love) begins with a newish take on the age-old plank of Daddy Long Legs (1955) and Lamhe (1...

Missing, Review: You aren’t missing anything It’s a confessional title and admission of guilt, for there is a lot that is missing in this film, a credible plot to begin with. Crisp editing and some good performances cannot rescue Missing, a psychological thriller that isn’t. Like one character in the film, who takes everybody for a huge ride, the makers have decided to inflict the same punishment on the audience. The fact that persons of the calibre of Neeraj Pandey (directo...

Talvar, Review: Whodunit? Doesn’t matter! Like the 1950 Japanese cult film Rashomon, directed by Akira Kurosawa and often rated as one of the greatest films ever made, remade n number of times in India, Meghna Gulzar’s Talvar (sword) presents three contradictory accounts of a nation-rocking real life double murder, which variously portray the prime accused as guilty or innocent. It fictionalises names and dates, amalgamates some characters into a single entity and does not take a ...

Drishyam, Review: Missing Corpse, Hissing Cops and Habeas Corpus What would drive producers to make and remake a film in five different Indian languages in a span of two years? Box-office success of preceding language versions and a potential remake goldmine at hand, or the merits of a script that tries to turn the killer v/s cops genre on its head, and could have viewers gasping for breath? In the case of Drishyam, whose Sanskritised title can be approximated as Drishya (scene/sight in Hindi...