Dunkirk is the last stand of the traditional blockbuster, trying to save a ship being torpedoed by sequels and superheroes. It’s less film, more event.
Horror comedies work as a terrific balm for our minds, crumbling under a stagnant routine. What’s not to love about watching a confused group of people run around escaping an equally clueless bunch of the undead? Kickstart the weekend with instant classics like What We Do in the Shadows and Official Bhootiyagiri.
Tigmanshu Dhulia’s Raag Desh is a reminder of a time when deshbhakti was not manipulatively enforced. Today, nationalism is a weapon used to prod everyone toward an “acceptable” way of life.
Both Sanju and Veere Di Wedding are excellent examples of bad films that were given a positive spin by Bollywood’s hype machinery. They’re a terrific demonstration of the industry’s business sense but a crushing dent to the economy of creativity and storytelling.
Karan Johar made the mistake of believing he’d invited Kangana Ranaut of a decade ago to Koffee with Karan. No longer the awkward outlier, the actress dropped several truth bombs.
The #MeToo allegations that have marred the Indian comedy scene in the last few weeks had convinced me that I was done with stand-up. Then I stumbled upon Inside Jokes. The six-part docu series gets inside the heads of seven amateur comedians and highlights the transient nature of comedy.
Game of Thrones has painted perhaps the glummest picture of love ever conceived in popular culture. Love does not last or make us better persons. Instead, it corrupts, handicaps, and burdens as much as any other responsibility in the world.
Despite Rajinikanth’s presence, 2.0 ensures it is an equal battleground for its hero and antagonist. It’s the villain Pakshirajan – a fabulous Akshay Kumar – who gets the indulgent backstory; he’s the first character we see in the film and the only one to merit a song.