Reviews written by registered user
|49 reviews in total|
Dear Gauri Shinde,
Thanks for gifting us a story where the journey is more important than the destination. One needs courage to make an intrusive film on a young individual's internal complications and involve us in her expedition. Eventually the therapeutic route engulfs us to an extent that we start our quest for happiness within our imperfection existence. And therein lies your success, your ability to convey some simple yet deep statements about Life without striking with a sledgehammer to prove your point.
And thankfully there's no excessive drama what a beauty!! Yeah, the narrative is verbose but those dialogues are so free flowing and real. Many a times I didn't feel like watching a movie.
Thanks again, for gifting us Dr Jehangir "Jugs" Khan. A life-mentor like him around can prompt any soul to sing "Love you Zindagi". Lots of thanks for giving Shah Rukh Khan a scope for a restained performance. His gentle, calm aura is infectious. And it seems Alia Bhatt can't go wrong... Dear Zindagi belongs to her and it is yet another triumph for this young talent. Also, convey my note to your casting director for the flawless casting (one who played Jackie is my fav), Laxman Utekar for the cinematography & Amit Trivedi (ofcourse). The protagonist's issues are very urban centric and the decision to release it only 1100 screens is spot-on.
Be it problem of house wives or millennial, you seem to hit the right chords... These two beautifully crafted slice-of-life films surely make you a sought after director in my list.
A heartfelt film with all heart & heart and the statement on parenting..
Yours thankfully, An ardent (& momentarily happy) cine-lover
P.S : "you and only you is the teacher of your School of life" - a much required statement that should flow into our psyche....
Pink is not a film and this is not a review..
A dialogue from Rang De Basanti "Koi Bi desh perfect nevi ho ta hai..use perfect banana parta hai" and for that one needs to change the various aspects of societal mindset. #Pink is not just a film but a statement against this prejudiced, hypocritical feudal societal fabric that can't handle modern-thinking women.
Two major point raised without being didactic:- 1.Stop being judgmental. A modern working woman who wears short (I would say more comfortable in this humid climate) clothes or one who parties & drinks or one who is friendly doesn't mean SHE IS AVAILABLE. SO STOP LABELING HER..
2.Most vital point NO MEANS NO..She can be your friend, GF, sex-worker, even your wife : NO means No. I am sure even most educated men won't get this point but I hope they does..
Honestly Shoojit Sircar (who is synonymous with quality films Vicky Donor Madras Cafe Piku) & debutante Dir Aniruddha Roy Chowdhury should be applauded for The Film Pink as it has the power to change mindset. Hope Pink is watched at a large scale, start a debate and inspire young adults. Going by the reactions all over I guess the movement has just began, that is Power of Great Cinema.
Kudos to Amitabh Bachchan to be part of such a topical film demanding respect.His acting and choice of films are getting better and better with old-age..This issue was necessary to be told and his name would increase the audience base. Tapsee Pannu and Kirti Kulhari are a revelation. Their pain reflects the voice of majority of Indian women who have to face ordeals even in the busiest of streets in our country. Angad Bedi is so authentic that you will hate him. Debutante Andrea Tariang is effortless. And can Piyush Mishra & Dhritiman Chatterjee go wrong in any role? Pink is indeed a taut social thriller which needs your attention.It is taut and gritty and it establishes its plot-points effectively keeping the tension intact. And while doing so it makes evident points against the society. The court-room sequences in the 2nd half is tremendously superb. As a cinema it is Talvar of 2016 albeit with a straight plot-line.
Btw, Do watch the end credit..
There are good films and there are great films but few films have the
potential to change a genre or start a new one. "Phobia" is one such
gem of a film that demands your attention and might just be the
game-changer in the space of psychological horror thrillers in Hindi
cinema. The film's taut narrative neither ignores viewer's intelligence
nor does it test their patience.
The film open with a famous quotation of Franz Kafka, "A cage went in search of a bird" and you're in for a roller-coaster psychological ride. The quote merges into a painting with that of a hand in the left side of the frame trying to reach out for help while half a dozen of hands are trying to rescue him from the right side of the frame or are they? This picture coupled with Kafka's quote quite sums up the whole film which revolves around an upcoming painter Mahek who is suffering from acute agoraphobia (a fear of open spaces). To accelerate her healing process her well-wishers thought that a change would be beneficial thus Mahek gets shifted to a used but empty apartment. But the apartment has its own story which results in her getting trapped from outside as well as within. Initially the whole setting seems like a typical Hindi horror film but as the film moves ahead you will be stunned at the smartness of Pawan Kirpalani's execution. Believe me "Phobia" is something which you have never witnessed in a Hindi horror film. Nothing is what it seems and the atmospheric horror is devoid of any cheesy sequence. Phobia terrifies you with its creepiness and when you think you know where it is heading it surprises you. There's an unexpected quirky pr-climax which lightens the mood only to take you to a gory but impactful climax that gives an apt closure to the first two acts.
For reading the full review please check this link:-
In one of the moving scenes towards the end a tired old man fighting
for his right and dignity sadly tells his journalist friend, "soch raha
hoon main Umrika chale jayun. Udhar mere Jase log chain Se re-he sakte
hai". That sentence takes me back to my formative years when different
sexual orientations were not openly discussed & acknowledged in the
society. It was a time when a slightest trait of homosexuality was
ridiculed. With time and experience there's many like me who have
evolved and understood what freedom is but sadly a large section of the
nation are still cocooned in a regressive time wrap. Aligarh is a
poignant critique of such a homophobic invasive society that tries to
control the lives of others.
Hansal Mehta should be appreciated for choosing a film on real-life academician Dr Ramchandra Siras who was denied his job in the Aligarh University due to his sexual orientation. They left no-stone unturned to make his life a living nightmare. The film gives a harrowing picture of the grudges of an illogical moss-back community thrown to a sensitive man who was full of love and poetry. Beyond this sensitive issue credit goes to Ishani Banerjee (story) & Apurva Asrani (screenplay) for making a heart warming commentary on loneliness and desire for love. Mehta's film has a certain pace which is in-sync with Dr Siras calm, soft and poetic and the dialogs add on to the mood. One of my favorite dialogs is when Dr Siras calmly reacts to the word "gay"- "koi mere feeling KO 3 aksharon mien kaise samjah sakte hai". Brilliant!! The courtroom sequences on the issue of moral policing deserves attention. Within my limited understanding of this medium I can confidently say that Manoj Bajpayee's portrayal of the ordeal of the real-life professor shall go down as a landmark performance in the history of Hindi cinema. What a fabulous actor!! Rajkumar Rao is another great talent who gave an able support to Bajpayee.
Like last week's Neerja we got another film on a real-life hero : Dr Siras, a social martyr who fought for a cause - for individual freedom & the right to live one's life respectfully.
If possible please support the film & the cause behind it..
In one of the tensed sequence Neerja Bhanot's screen mother tells her
sons not to cry as tears are gateway to negativity.. Sadly most of us
are not as brave as Neerja or her parents and even though certain
"kaka" (Neerja's favourite) would have hated tears I went moist eyes
watching the film.
Neerja Bhanot is a gripping heart-warming tribute to a young brave soul who was no less than a super-hero. For those uninitiated Neerja Bhanot was a head purser in the ill-fated Pan Am flight which was hijacked at Karachi in Sept'1986. Neerja gave her life saving 359 passengers and was awarded by India, Pakistan & USA for her bravery. This film that deals with last 16 hours of her life stands out from the flock of recent biopics due to director Ram Madhvani's conviction of the subject and the way he injects believability in the characters that's devoid of a single ounce of melodrama. Now that's the power of great cinema which involves your audience with its narrative as you start feeling for the protagonist. The anxiety of the situation and the claustrophobia is aptly captured by usage of hand-held camera. The back-and-forth narrative adds impact as we get to know more about Neerja and that helps in building up the emotion. Also Saiwyn Qadras' story adds dimensions to hijackers thus making the proceedings interesting.
Shabana Azmi and Yogendra Tiku (already famous as Queen's father) leave strong impact as the helpless yet proud parents of Neerja. The supporting cast is superb especially the terrorists. Jim Sarbh makes a brilliant debut as the hot-headed Khaleel who evokes fear and apathy.Already a popular face in theater circuit he is an actor to look forward to...
And then there's Sonam Kapoor, often criticized for her acting inabilities seem to have hit back with vengeance. And what a performance - she looked and acted like Neerja in every frame and demands all attention, accolades and awards. Her transition from a happy-go-lucky loving adorable daughter to a dynamic calm leader Kapoor had emoted with precision. Fear had instilled courage as Neerja took pointers from her previous failed marriage and words of her father to stand tall.
Surely credit must be given to Madhvani who brought out the best in her. Go for this film and get inspired An exceptional biopic which dares not to add any mas-ala (which even Airlift did)... (Well, am ignoring the unnecessary Maa song in the 2nd half)
Zindagi badi honi chahiye, lam bi nei... Jeeta hai chal jeeta hai chal.. respect!!
To be honest Hindi patriotic films have never hit the right notes of my
nationalistic sensibilities. With dollops of jingoism and
nation-bashing there's not much meat to stimulate one's senses barring
few like (in last few years) Rang De Basanti or a Swades: We the People
(though that was filled with utopia). Last year's Baby was sleek but
predictably linear. And then we have Airlift.
Can't believe I watched a film with patriotic undertone which actually didn't play to the gallery. The film might have taken liberties from true events but have depicted things realistically. The plight of the 170000 Indians stranded as refuges in Saddam Hussain's Iraq invaded Kuwait could be felt thanks to Raja Krishna Menon's dexterous execution. The film could easily have swayed to tear-jerking melodrama but Menon's deft handling complimented by some razor sharp writing (Menon himself, Ritesh Shah & Sureah nair) prevented the same. The characterizations and their transitions gelled well with the situations.
Technically the film does proved the we are not far behind the west in terms of depicting war-torn cities and Priya Seth gets away with all the brownie points for her cinematography. In a single frame she craft-fully depicted the plight of whole Kuwait city just at the dawn after the dreadful night when Saddam's men attacked it unwarranted. Seth got able support from Hemanti Sarkar whose editing made the film crisp though they could have easily done away with two unnecessary songs in the 2nd half.
Vicky Sidana demands attention for his immaculate casting. Inaamulhaq (who won our heart in Filmistaan) perfectly depicted a ghoulish Iraqi general. Always reliable Kumud Mishra's commendable performance as the helpful government official will become memorable for sure while Purab Kohli touches your heart as Ibrahim looking for his love. Prakash Belawadi's complaining Joseph act becomes repetitive but he hold on to the character till the end. Nimrat Kaur scores another century after The Lunchbox. I particularly liked the scene where she (as Ranjeet's wife) confronts Joseph accuses Ranjeet of negligence.Feryna Wazhier made her graceful presence felt without any dialogues. And then there's Akshay Kumar who gave a performance of lifetime as Ranjeet Katiyal, a headstrong businessman who believed he to be more of a Kuwaiti than an Indian and his gradual transformation over the course of events. He played the main protagonist but underplays his superstar image thus giving a believable act that showed his growth as an actor. We wish to see more Special 26, Baby, OMG, Airlift in his career.
Having said all the film has its share of flaws as the space was slowing down occasionally in an otherwise taut narrative. Also the scope for some drama had been completely ignored by the makers. The climax is somewhat lame which didn't make the impact needed. May be they wanted to focus more on the incidents that led towards the monumental airlift. Yes, #Airlift is indeed a proud historical event which demands respect for all the individuals involved, especially those 488 Air India flights and the two Indians - Manumurthy Matthews and Dr Vedi who were instrumental in getting the balls rolling. As per the film Akshay Kumar's Ranjeet Kaiyal is amalgamation of these two characters.
In the end Airlift is a story of triumph..More than that it is a tale of hope and humanity that breaks all political, societal, religious barriers.
The film begins with an act of a Tamasha whereby we get introduced to
a joker who is laughing at a robot having stuck between Dil & Duniya.
The robot symbolizes most of us, our mechanical existence whereby we
are killing our dreams each passing day by being unwillingly part of a
routine life which we abhor but then we need the money.. The stage is
set for another Imtiaz Ali extravaganza ----- On analyzing Imtiaz Ali
film we can see he has an inclination towards characters that are
aberrations to societal rules and traditions. They are not anti-social
or asocial but are non-conformist in nature. Be it mild nature Viren
Oberoi from Socha Na Tha or cutely hyper Geet from Jab We Met or
rebellious Janarthan from Rockstar his protagonists are different who
antics influences their contradictory counterparts thus shaping into an
unusual love-story. And for someone like me who distants himself from
mushy romance are attracted by Imtiaz Ali's characters who comes across
as free-spirited and hatke.
With Tamasha he brings back his non-conformist lead in the form of Ved but unlike Janarthan Ranbir Kapoor's character is an apparently soft- spoken dreamer who is a byproduct of materialistic societal existence. He is bored & wants to get rid of his mundane daily life which brings him closer to a bipolar personality. Well I guess majority of us can connect with him as he webs several stories and lives each of them in his mind. The world of dreams kind of gives him a freedom and there begins a fairy tale journey which culminates into self-actualization with Ved realizing his potential through the eyes of Tara Maheshwari.
Last month Vikas Behl tried to narrate a similar tale but the surreal setting and quirky humour boomeranged. Imtiaz Ali tried the same story but gave it a dark & poetic tone, dealing with the complexities of human emotions. Ali dares to experiment with the narrative as it goes past, present and future as he paints 3 phases of Ved's life. He dexterously uses mirrors and shadows (as props) to reflect the inner conflict of the central character. In several sequences he proved why he is one of the finest directors around. One of my fav is the repeated scenes with cut shots of the following frames - his alarm clock waking him in the morning, brushing teeth, having breakfast, getting stuck in traffic, getting into office lift, swapping his card and settling at his cubicle. The gloominess of monotony and monstrosity of lifeless survival is effectively displayed which probably haunts 90% of those watching the film. Ali deserved accolades for many sequences like the one in an auto which leads to "wattu watu" songs is creative or the one where he confronts his father "lecture" on responsibility and blah blah blah... Ved's blabbering in client presentation or the scene where he confronts his boss. But honestly few frames looked manipulative and the one where his father's heart showed a change in the pre-climax seemed hurried and badly written.
Ranbir simply puts his teeth into the role and proves why he is one of the best actors around. He should be also applauded for choosing this film. The complexity of bipolar Ved comes alive through him and the vulnerability of the character could be felt. Personally I wish this film at least works in the BO to give him confidence to select more bolder scripts. Deepika Padukone is one actress who had simply taken all the criticisms seriously in her early stage of career. Over the years she has improved a lot and after Piku this is another performance for her to cheer. Piyush Mishra's voice has a narrator is an apt one for a script which deals with human ambiguity. A.R Rehman's music, Ravi Verman's cinematography and Aarti Bajaj's editing compliments Ali's vision.
Tamasha is not for those who are looking for a popcorn rom-com, but it is not a pessimistic film either. What make me delighted about Tamasha is that it hits on the plastic "holier than thou" society & urges people never to lose the child within one and try to follow one's heart. I couldn't dare to follow my heart but at least I can surely say that the child within me is very much alive And as the story-teller old man (a brilliant Piyush Mishra in a cameo) confronts Ved he gives a valuable life-lesson - there is no point in cribbing, end-of-the-day it is your own story and you have to find a resolution. Indeed, the pursuit of happiness continues
I must say whenever Bollywood deliberately adds "shit" to the narrative
the film turns potilicious (Check Delhi Belly & now Piku though there
isn't any similarity between the two films.
---------------------------------- Shoojit Sircar has a unique relation
with bodily fluids. After his successful stint with "sperm" this time
he brings in another bodily fluid that takes the center stage. Welcome
to Piku's wacky family - a crabby father suffering from chronic
constipation and his idiosyncrasies, his headstrong yet somewhat
eccentric daughter and then there's the weird 3rd individual who wants
to get rid of his mother. He offers help to this odd father-daughter
duo to drive to their ancestral home in Kolkata; and expectantly it
becomes one journey of a life-time. If one observes the characters
there's tremendous chaos, confusion, detachment which creates space for
the odd humor but within the zaniness there's a sense of love &
belonging. Thunderous applause to Sircar & Juhi Chaturbedi to carefully
web a simple yet powerful slice-of-life film that breaks societal
cliché's & gave us some memorable characters with a strong sense of
individuality. Simplicity is an asset which Sarkar possess. And yes the
film is a celebration of Indian Womanhood.
With anexemplary star-cast the film holds on to those 120 minutes of running time. Deepika Padukone sinks her teeth into this author backed role.She looks & talked Piku from the first scene. Amitabh Bachchan is rock solid as cantankerous Bhaskor Banerjee. He is a typical egoist Bengali babu with strong sense of right & wrong. Amitabh's accent sounded little forced & fake few times though.Through these two characters Shoojit does highlights how Bengalis are culturally more progressive than many which were thrown in some dialogues too. But the film is not about glorifying Bengalis, the script does have space for an UP-iet Rana Chowdhury who points out the fallacy in normal egoistic Bengali bhodrolok's way towards life. Irfan Khan excels as "Non- Bengali" Chowdhury who forms the catalyst for the transition that happens in father-daughter story. Jishu Sengupta as Sayed and Raghuveer Yadav as Dr Srivastava are quite likable. Moushumi Chatterjee as Mashi is just about OK. The actor playing Bodhan did a commendable job.
Kamaljeet Negi's cinematography captured the mood of moments successfully. And Anupam Roy's music filled those little gaps in the flow.
And by the time the rolling credits appear the audience is submerged into Piku's world, a world which is quite similar to you, me or the person sitting next to you in the dark theatre. And like Bhaskar..err..Bhaskor u'll also start dancing to the tune of "Jibone ki pabona".. The ending of the film is a masterstroke.The film is as satisfactory an experience as clearing your stomach in the morning and obviously life mein Motion mein hi Emotion Go for this one, till then I concentrate on clearing my bowel.
P.S: Deepika Padukone, Anushka Sharma, Kangana Ranaut the leading ladies are showing some good sense in their choice of films than the leading men. Way to go gals!! Looking fwd to Anushka & Kangana
Indian cinema is maturing at a faster rate and now even the censor
board has boarded the flight of maturity. It's good to see people
shedding hypocrisy and becoming rudely real with their dialogs in
cinema. Sample this "This girl has given me a blow-job" or "You used my
juice to clean your ass" thumps up to censor board for releasing this
without any cut. Delhi Belly is indeed the maiden attempt to elevate
toilet humor to another level and probably it is dirtiest, filthiest
comedy at its very best.
Delhi Belly is a simple story about three roommates Nitin (Brilliant debut by Kunal Roy Kapoor),Tashi(Imraan Khan) and Arup(Vir Das) unknowingly stuck in a crime whereby a local goon (superb acting by Vijay Raaz) and his henchmen are after them to get back their diamonds and rest of the film is about the trio escaping as the youth anthem bhag bhag dk Bose scores in background.
It is sheer genius of writer Akshat Verma to come up with a Guy Ritchie kind of script. One feels like watching a Guy Ritchie,Tarantino-is cinema with ample dose of Desi tadka. After his disastrous debut "The Game" Abhinay Deo bounced back with this. It is unorthodox kind of cinema at its best which hits all aspects of pseudo morality. The characters are real and identifiable, the ways they speak are shockingly real and so is the execution. There is no pretentiousness or double innuendos but in your face kind of toilet humor brilliantly used in the fast paced narrative. In the opening credit the characters are aptly introduced by mere usage of props as the song "Saigal Blues" plays lazily in the background. With the perfectionist Aamir Khan as the producer flawless execution is quite expected. Towards the climax when the shootout takes place, the slow motion execution seems like an opera with each character's reaction being like that of chords of various instruments in a string ensemble. The concept of return of disco fighter starring Aamir Khan is intertwined wittily with the narrative leading to the hilariously marvelous item song "I hate you (like I love you)" in the end where we see Mr perfectionist himself dressed as Austin power having fun with an intelligently choreographed song.
Abhinay Deo is blessed with a talented technical team starting with a capable cinematographer who brings alive the by-lanes of Delhi. Without glorifying the tourist spots it brilliantly captures the intensity of the city and its true color and kudos to the art department for that. The 96mins pace is aptly edited with the clever idea of no-interval concept thus maintaining the flow with the gradual rise of madness. One of the real heroes of this film is the music and the lyrics. Ram Sampath(the music composer) and Amitabh Bhattacharya(the lyricist) created wonder with the album with Amitabh's magical lyrics Dk Bose is now the anthem of the youth. One of the most creative song since "Emotional atyachaar"(from Dev D) is "jah Chudail". The video of "Jah chudail" is sure to throw one in the floor with laughter. All the creatively outrageously funny songs in the album are used appropriately in the background.
Coming to the acting department, casting director Adoore Mukherjee seems to know his job well selecting Kunal Roy Kapoor (who earlier directed the mind-blowing hinglish comedy "The president is coming") as Nitin who suffers a weak belly due to food poisoning. He is natural and shows oodles of emotions in his face. The other find of this movie is Poorna Jagannathan who is spontaneous and delightful actress. Vir Das and Imran Khan do justice to their roles and so does Shenaz Treasury. Vijay Raaz is a fine actor and while watching his subtle villainous act one wishes to see more of him.The henchmen in Vijay Raaz's gang did a fine job specially the one who played "Bunty".The person enacting the landlord has superb potential in situational comedy films.
Aamir Khan should be applauded again for taking an independent cinema to this elevating commercial level. Previously he supported Peepli Live and Dhobi Ghaat, and now with Delhi Belly he opens a door for more film makers. It is true that Delhi Belly won't appeal to all cine-goers but then it will surely be named as one of the farting cult film in the long run. Hopefully more film makers will explore this territory unabashed. A true Potiliciously hilarious cinema that will be remembered for its content. A cult comedy all the way .
*** This review may contain spoilers ***
Indians love slapstick humor but seldom appreciate dark comedy humor
though things are changing with a certain segment accepting films like
"1:40 Ki last local", "Go Goa Gone", "Shor", "Ishqiya" series (& the
few others made recently).
Debutante director Saikabir's Revolver Rani is an unapologetic creatively outlandish, pulp-fiction meets political satire that provides doses of Tamasha. The dark setting, the straight face yet wacky humor in an otherwise intentional loud scenario, witty lines, eccentric music (a masterstroke by new music director Sanjeev Srivastava), crookedly weird verbose villains, unpredictable characters it is a rightful tribute to the one & only QT. (There's also tribute to Robert Rodriquez the initial credit & the metallic bra is homage to Machete. There's also a tribute to Scarface in the climax scene).
When was the last time you saw a black comedy based on a shocking female protagonist (that also the leader of a political party) who is neurotic, psychotic, egoist, wicked & even a nymphomaniac. When was the last time you saw a Hindi film where the hero is the toy-boy of the female protagonist. Add on to it there are dozens of eccentric characters like the calculative sex-maniac mama, MJ (who resembles the iconic pop-star) & three weird political personalities. There's a news reporter who uses random Shayeri to describe the situations & she is bound to bring the house down with "Sim Sim pore pore" thing.
The brutally twisted climax was handled deftly which was kind of cursor to Kill Bill. If a 2nd part is made I hope Rani takes brutal revenge like the Bride & please no more emotions, softness...
Like Go Goa Gone (of 2013) this was a fresh attempt in Hindi cinema But RR got diluted by the emotional element in the stretched second half. Though needed to inflict conflict, the director outdid the sentiment part while the dark, wacky humor got relegated to backstage. It seemed like the producer had forced the director to add sentimental elements to suit the sensibility of a wider audience.
Kabir has a flair for Hollywood films & knows his art the use of minimalist light, apt background music, frames depicting layers, one hope he remains consistent next time. Without lifting scenes he took cues from Kill Bill and suitably changed it for Indian sensibilities. He knows the violent region of Chambal and the brutal game of politics prevalent thus instilling realistic flavor to the eccentric proceedings.
He got ample support from other departments. Debutant Sanjeev Srivastava rocks the show with his inspired background music which had retro beats strategically mixed with rock to portray the pulse of the characters. The use of 90s songs used effectively and the use of the siren sound from Kill Bill was a masterstroke. The songs were nice but it hampered the screenplay in the second half.Suhas Gujrati's camera deserves a special mention who lends voice to each of his frames.
With revolver Rani, Kangana stamped that she is miles ahead of her contemporaries as Alka Singh aka Rani isn't an easy character to portray which she dared to do & how. Personally I loved her more in this film than Queen (She was superb there too) but when compared Queen had a softer tone which is generally liked by a larger segment.
Another strong point - Supporting actors like Kumud Sharma, Zakir Hussein, Vir das, Zeeshan Qadri (definite from GOW).. And obviously, the ever talented & extremely choosy Piyush Mishra sir (as Mama). (By the way those who loves his voice, he also sung two songs in the film).
Overall, those who are new to the genre can give it a try. It's like tasting alcohol for the first time, the initial gulp would be heavy & shocking but gradually one either gets use to it or rejects it completely. For the "avid" drinkers like me who enjoys Tarantino (& likes) the film has a rocking 1st half and a superb climax. The initial 45 minutes of the second half diluted the otherwise decent attempt.
P.S: At societal level, let all the unwanted girl child of India turns a rebel like Rani & beat the sh*t out of men in this regressive patriarchal society...
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