Chandni is the quintessential male fantasy in motion; except with Yash Chopra behind the camera, that fantasy translates as adoration and appreciation, instead of overt sexualisation. Every shot feels like a gentle caress, like the gaze of an admirer or a devotee.
It’s naive to assume that the makers of Pati Patni Aur Woh didn’t predict the backlash to the misogyny in the movie. Like the success of Kabir Singh shows, in 2019, every denunciation is actually a win for a film. The fact that we’re rewarding Pati Patni Aur Woh with our attention is its own payoff.
David Dhawan’s filmography includes comedies like Saajan Chale Sasural, Gharwali Baharwali, and Kyunki Main Jhooth Nahi Bolta, all of which to some extent glamourise men that cheat on their wives. 1999’s Biwi No. 1 is no different.
The lonely don’t endure loneliness; they live with it. Sanjoy Nag’s Yours Truly evocatively establishes the essence of that feeling through the eyes of 57-year-old Mithi Kumar, played by a terrific Soni Razdan, who gives a face to middle-aged longing.
Tiger Shroff's Baaghi 2 comes very close to convincing you that there can be no action hero unless he has an “I love my India” tattoo on his forehead, and no action film if it doesn’t act as a PSA for the army. It makes you miss the times when Bollywood action heroes had dhai kilo ka haath instead of dhai kilo ke abs.
Ratna Pathak Shah is synonymous with layered, evocative performances that acquire a fandom of their own. In the last two years alone, with stellar roles in Love Per Square Foot and Lipstick Under My Burkha, Shah has had a more envious acting resume than any of her younger peers.
Spoiler alert: Dhadak is as terrible as anyone who has watched Sairat expected it to be. If there’s anyone who can take the ignored issue of caste and ignore it even further, it’s a Karan Johar production. The result is a risible, candyfloss film that embodies everything Sairat mocked.
Mohammad Aziz wasn’t just a first-copy version of Mohammad Rafi. That would be unfair to the artist he was. Aziz was the first-copy version of all the actors he sang for: He was Govinda’s pelvic thrust, Mithun Chakraborty’s swagger, Rajesh Khanna’s ham, Amitabh Bachchan’s buffoonery. He was all that they were or wanted to be.
You rarely enjoy an Abbas-Mustan film for reasons that are not embarrassing. There’s no better evidence of that than Baadshah, a comic-action thriller that boasts of mistaken identities, magnetic shoes, and a private detective who is petrified of dogs.