Avengers: Infinity War Movie Review

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Directors: Anthony Russo, Joe Russo

I suppose any film with roughly 30 speaking parts, and intended as the grand culmination of story arcs explored across 18 movies over the last 10 years is bound to feel a bit overstuffed. Avengers: Infinity War, directed by Anthony and Joe Russo, clocks in at a butt-numbing 2 hours and 29 minutes. I won’t lie, it does feel long. But it’s also very enjoyable for the bulk of it. Remember how the end credits sequence in the first Iron Man movie, all the way back in 2008, hinted at the idea of an Avengers Initiative? Who’d have thought at the time that this is what it was leading up to! Because, as you probably know already, unless you’ve been living under a rock, Infinity War teams up practically everyone that’s ever appeared in the Marvel Cinematic Universe: the Founding Avengers – Iron Man, Thor, Captain America, Hulk, Black Widow; the Guardians of the Galaxy – all of them; later entrants Scarlett Witch, Vision, Doctor Strange, Spider-Man, Black Panther, and other characters from each of their respective worlds. Throw a stone and you’ll hit a superhero. You’re also likely aware that only one thing could bring all these good guys together – a bad guy, namely Thanos, who’s been a looming threat referenced in previous Marvel films, and who is finally centrestage this time around. Played by Josh Brolin in a terrific motion-capture performance that doesn’t miss a nuance, Thanos is a 12-feet-tall, purple-skinned mega villain with an oversized chin, who’s bent on acquiring all six of the Infinity Stones, and wiping out half of the galaxy’s population to save the other half – don’t ask! Every superhero in the MCU, summoned from their respective stomping grounds, must do what they can to stop him.

That’s as far as I can tell you in terms of plot. Much of the joy in Infinity War comes from watching the awkward interactions and the unlikely friendships developed within this massive ensemble of do-gooders, many of whom don’t know each other, or even of each other’s existence. At one point Bruce Banner asks, very puzzled, “There’s an Ant-Man and a Spider-Man?” The script mines humour from personality clashes, conflicts, mild irritations, and one-upmanship. Let’s just say the combustible pairing of two sarcastic ego-maniacs Tony Stark and Doctor Strange delivers plenty laughs. Banner is having a hard time unleashing his inner Hulk, Peter Parker won’t shut up with all the pop-culture references, and Thor is thrown in with the wisecracking Guardians, led by the irrepressible Peter Quill.

But because there are so many of them in the mix, it’s practically impossible for every significant character to get a huge amount of screen-time here. Inevitably some get more to do than others. I was especially bummed to see one of my favourites, Scarlett Johansson’s Black Widow, criminally underutilised. Even a promising fight scene between four badass female characters is prematurely and abruptly cut off. Frankly the only fella who gets a chunk of cinematic real estate is Thanos. In addition to destroying everything in his path in pursuit of those coveted Infinity Stones, his complicated relationship with adopted daughters Gamora (Zoe Saldana) and Nebula (Karen Gillan) yields some surprisingly affecting moments.

It’s true also of other narrative strands. Infinity War has some well-earned and genuinely emotional moments involving characters you’ve had many years to be invested in. The action too never feels like a blur. Superhero films tend to climax in loud, messy CGI battles (both the previous Avengers films are guilty of this) that go on and on until the razor-sharp cutting makes your eyes glaze over and you can’t tell who’s doing what to whom. The action sequences in Infinity War – and there are plenty – never feel generic, perhaps because there are so many distinct superheroes and superpowers at play. The final stretch, in fact, is especially bold and somber, with the filmmakers raising the stakes in a way that these films seldom do.

There’s been a lot of chatter online about who lives and who dies at the end of this movie. Don’t expect any clues or any answers from me, but I will tell you that it’s hard to take everything that you see seriously, given that you know there’s a second movie out next year that’s meant to wrap up this arc. Still, you have to hand it to the Russos for the extent they’re willing to go to in order to deliver shock, suspense, and a mostly thrilling experience.

I’m going with three-and-a-half out of five for Avengers: Infinity War. It is overstuffed and overlong, but there’s so much going on you’ll barely notice. Best enjoyed with a big tub of popcorn.

Rating: 3.5 / 5

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Noor Movie Review: The Film Is Well Intended but Too Frivolous

Despite being part of several blockbusters in the past, Sonakshi Sinha has only been able to showcase her talent in select few films. The audience most often has seen her playing the arm-candy of the hero which gave her little scope to prove her worth.

The actress is all set to change her image with Sunhil Sippy’s Noor. Based on Pakistani journalist Saba Imtiaz’s book Karachi! You’re Killing Me, the film narrates the tale of a Mumbai based journalist Noor Roy Choudhary and her misadventures as a scribe. Her career is not going great, she aspires to do serious journalism and her love life is non existent. One fine day Noor stumbles upon a case that could change her life and career for the better.

The film also features Purab Kohli, Shibani Dhandekar and stand-up comic Kanan Gill. The book on which the film is based, was a bestseller. It would be interesting to see if the makers are able to recreate the same magic on the big screen as well. Will Sonakshi be able to carry the film on her shoulders? Will she be able to prove her talent? Shomini Sen of News18.com was inside the theatre to find out.

9:42 AM: We are all set to watch #Noor and her misadventures. Stay tuned for the tweet review

9:45 AM: Featuring @sonakshisinha in the lead, #Noor narrates the story of a Mumbai based journalist.

10:15 AM: Have not seen a news room this calm and peaceful. Which office is this? #Noor

10:41 AM: The film’s narrative is a tad slow. Takes time to establish the main plot. #Noor

10:51 AM: Moments between Noor and her Editor, her wanting to break a story- would be relatable to all journalists. #Noor

10:58 AM: #Noor begins on a breezy note and then suddenly turns grim. First half of the film is engaging despite its slow pace.

11:20 AM: #Noor huffs in exasperation more than doing the actual work of an investigative journalist.

11:32 AM: From Noor’s story it becomes a story of Mumbai. The transition is a bit sketchy. #Noor

11:44 AM: ‘Kuch to Trolls kahenge, Trolls ka kaam hi hai kehna’ 😉 #Noor

11:54 AM: Problem with #Noor is that it’s superfluous. It takes up a serious issue but only talks about it on the surface.

11:56 AM: It never goes deep into any of subplots. Or shows the greater impact of Noor’s research and work. #Noor

11:59 AM: Sonakshi Sinha as #Noor is endearing. Her on-screen camaraderie with Shibani Dhandekar and Kanan Gill looks genuine and fun

12:00 PM: Wish there was more of Purab Kohli and Kanan Gill in the film, though. #Noor

12:01 PM: #Noor begins as breezy, fun story and eventually becomes a story of self discovery. It tries to tell too many thiNgs at the same time

12:03 PM: Also, really where do you have such calm, serene news room? Which office is this? #askingforafriend #Noor

12:04 PM: Thanks for being with us throughout the tweet review of #Noor. More movie updates to follow soon

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Nanu Ki Jaanu Movie Review: Abhay Deol-Patralekha Starrer Is A Major Eye-Roll Fest

Cast: Abhay Deol, Patralekha Paul, Manu Roshi Chaddha
Director: Faraz Haider There are films that make you laugh at their silliness and then are some which make you cringe at the half-hearted efforts put in by a team with potential. Unfortunately, Nanu Ki Jaanu qualifies in both these categories. Touted as a horror-comedy, the film does make you laugh, but only at your decision to spend time and money on this farce posing as a film.

Given that it features talents like Abhay Deol and Patralekha Paul, you feel bad for the actors for signing a film like this and hope that at least the money offered to them was justified as the film has all the elements to sink their respective careers.


The story is of Nanu, leader of a gang of goons, who takes possession of apartments in Noida under the pretext of renting them. On the way to one such assignment, Nanu sees a woman lying at the edge of the road, bleeding to death. Despite his best efforts, Nanu is unable to save Siddhi (Patralekha). Leaving her body with her grieving father (Rajesh Sharma), Nanu returns to work, suddenly a changed man. Soon after, strange things start happening in his house and a ghost is detected. Who is this ghost and what are its intentions for Nanu is the story of the film (if that’s what you call it).

The execution of the film is so shabby that there comes a point when you start to wonder if the team realised what they’ve signed up for and lost interest mid-way. There are glaring loopholes in the narrative which are more uneven than the roads in Noida. The director (Faraz Haider) did try to make the most of Abhay not by taping on his skills but by presenting him in nearly every frame. Patralekha has a bare minimum role in the film, and we feel happy for her as the lesser the association with a film like this, the better. The only person who somewhat tries to save this sinking ship is Manu Rishi Chaddha. The writer of Oye Lucky… plays Nanu’s partner in the film and his role does offer the counted five laughs in this ‘horror-comedy’.

Interestingly, Nanu Ki Jaanu is a remake of critically acclaimed Tamil film Pisaasu and we wonder if the makers of the original will lose trust in their own story after watching the film.

The film’s death comes with its climax where the makers shove a forceful traffic rule message in what appears to be a sad, remorseful scene. However, it ends up being a major eye-roll fest, if only your eyeballs haven’t rolled enough before that point.

Overall the film is uneven, half-baked disappointment, which completely wrecks the talent of Abhay, Patralekha and even Chadha. They all deserve better than this. We all deserve better than this.

Rating: 1.5/5

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Blackmail Movie Review

Director: Abhinay Deo
Cast: Irrfan Khan, Kirti Kulhari, Arunoday Singh, Divya Dutta, Pradhuman Singh, Anuja Sathe, Gajraj Rao

Abhinay Deo’s Delhi Belly had an unusually intriguing flavor, but Blackmail is no Delhi Belly, it’s at best a half-cooked meal over-crowded with too many unnecessary ingredients. Reports suggest that Deo’s dark tragicomedy was initially titled Raita and going by how the film turns out, the makers should have stuck to that name.

Irrfan plays Dev, a Sales employee working in a toilet paper company My Handy, who sticks around in the office after wee hours. He steals photographs of his colleagues’ wives from their desk and secretly rushes to the bathroom to pleasure himself. Right in the beginning, we see him texting his wife “Leaving now” following a trail of same texts only with a changing date on his phone. It’s an indication of where their dry and possibly dusty marriage is heading. On the insistence of his colleague Anand (Pradhuman Singh), he decides to surprise his wife Reena (Kirit Kulhari) with a bouquet of flowers. Just that he couldn’t find them anywhere but at a crematorium. He returns home only to find her seeking solace in the arms of another man Ranjit Arora (Arunoday Singh).


Perplexed at the situation, he plays several threatening, bloodied scenarios in his mind but being the man that he is, he decides to formulate a plan of revenge. Soon enough we find Ranjit to be a married man living off of his wife Dolly’s (Divya Dutta) money. Or rather, her ill-mouthed father’s money.

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Dev begins to blackmail the boyfriend- one act turns into a trail, and one blackmailer gives birth to many more. His company is being headed by a foreign returned toilet paper-obsessed man Boss DK (Omi Vaidya) who rages war only against two things- jet sprayers and a man who continuously steals his wife’s photographs from his cabin. In his office is another sexist man Anand (Pradhuman Singh), who has a knack for making “non-veg” jokes and predicting a girl’s virginity only by taking one look at her. Joining them is Prabha (Anuja Sathe), a beautiful soft-spoken girl, who knows how to twist situations to her advantage. But as they say, too many cooks spoil the broth.

Irrfan, however, makes you bear the twisty-turny narrative with his mighty performance. He underplays and improvises as per his character demands and pulls off a devil-masked as an innocent impressively. While Kirti doesn’t have much to do in the film, Arunoday and Divya Dutta, bring the required over-the-top energy to their meatier roles. The likes of Pradhuman Singh, Anuja Sathe, Gajraj Rao also do justice to their parts.

The film has an overdose of revenge and greed sagas along with “dark” characters. And while one might credit the makers for shining a spotlight on every human’s inner villain and all things black, it all seems in vain as the film feels overindulgent at the running time of 139 minutes. The dark edges are finely crafted and the conversational humor emerges sporadically but a lot of it falls short in weaving an interesting film as a whole.

Some scenes, however, make you laugh at others’ despair and that’s when the mark of Deo becomes apparent and writer Parveez Shaikh’s work comes alive. The plot fails to unfold in a coherent fashion and leaves scope for a lot of distraction and watch-gazing moments and the second half feels stretched. Given the course the film takes, a little less running time would have come as a sigh of relief.

One of the film’s major strengths is its cinematography. Jay Oza’s visionary work in the film is commendable and adds layers to certain scenes- whether the hole-peeping scenes or a terrace corner scene. The performances, especially that of Irrfan, make the film bearable. A few dark scenes which have an underlying indication of a human’s greed and the functioning of a human mind also fare well. Urmila Matondkar’s “item-number” Bewafa Beauty is unnecessary and doesn’t add any lavage to the film.

At one point in the film, Anand asks Dev “Plan kya hai?”, to which Dev responds, “Abhi ban raha” and sums up the film for us.

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Begum Jaan: Despite Good Performances, the Film Fails to Impress

Cast: Vidya Balan, Gauahar Khan, Pallavi Sharda, Naseeruddin Shah, Vivek Mushran, Chunky Panday

Director: Srijit Mukherji

Films based on partition always manage to touch a raw nerve. The incident that changed the society that we live in now, has been narrated multiple times on the big screen with each filmmaker bringing his own perspective to the matter.

National Award winning director Srijit Mukherji’s 2015 film Rajkahini had touched upon the gory partition of Bengal. Narrated from the point of view of the marginalised section- that is the prostitutes, the film earned critical acclaim and did rounds of several international film festivals.

Two years later, Mukherji makes his debut in Bollywood with an adaptation of his Bengali film. Begum Jaan has the same premise- that of a brothel through which the border would be created to divide the newly formed countries India and Pakistan. The occupants, headed by the Madam (Vidya Balan), are asked to vacate the house in a month’s time or face consequences. Defiant, the women start a revolution of sorts.

On paper, the film may have appeared as a grand period saga. And why not? With an ensemble comprising of actors like Vidya Balan, Rajit Kapur, Ashish Vidyarthi, Gauahar Khan, Ila Arun and others, the film appeared to have a lot of potential. It also has one of Bollywood’s recurring themes- Partition- as its backdrop. So why wouldn’t the film be good?

Ironically, what appears good on paper may not always turn out that well on the big screen. The film begins in present day Delhi where a couple is chased by a bunch of drunkards in a deserted CP. An old woman comes to their rescue. Dressed mysteriously in a shirt and skirt with two pigtails tied neatly with yellow ribbons, she slowly starts undressing herself in front of the lecherous men, only to stop them from harming the girl. The director attempts to contextualize and put things in perspective with the first scene but it seems unnecessary by the end of it. Because the film uses partition as just a backdrop. It is ultimately a story of eviction. So a poignant scene on how the society treats its women is not needed perhaps.

As a performer Vidya once again excels in and as Begum Jaan. But her character carries too much weight of being the matriarch. She exudes anger, purrs like a cat and mellows down when the local King (Naseeruddin Shah) comes visiting. She speaks a language where constant references are made on how religion of a man does not matter to a whore, and how for her, all men are the same. It’s a story that tries to touch upon too many aspects at the same time and thereby jumbles up at what the core theme should be – that of a partition saga and the deep scars it left for generations to come or a story of a marginalised group fighting against the odds to rightfully claim their house.

The cast consists of gamut of character actors mostly. With nearly 20 characters in the story, it is difficult to establish everyone’s story. That said, a scene of Gauahar Khan and Pitobash stands out in which she explains that her heart loves him even if the body is used to satisfy other men. Pallavi Sharda plays Gulabo, a defiant girl, who despite Begum’s favours harbours dreams of marrying the kind school master (Vivek Mushran) who often visits the brothel. Sharda manages to shine in the limited screen space that is given to her. But perhaps the revelation in the film is Chunky Panday, who plays Kabir, a ruthless contract killer. Panday’s casting is perhaps the most interesting of the lot. Having played caricature roles in bad, slapstick comedies for years, the actor finally gets to prove his talent in an extended cameo and he shines.

chunkey-pandey-begum-jaan

Begum Jaan ultimately falls short because of an inconsistent story line and flawed screenplay. The actors are seen celebrating India’s independence in one scene and soon after, the festival of Holi. In another scene the characters are seen getting drenched and in the next, completely dry. The climax is unnecessarily loud and melodramatic and some of the scenes make you cringe.

The intentions are good. But too much is stuffed in two hours’ time. It’s crisper than the original film which Mukherji in an interview had stated contained a clot of ‘cinematic fat’ but the end result appears hastily put together.

Mukherji’s Bengali films have always had the best music but unfortunately Anu Malik’s songs in Begum Jaan do not leave a lasting impression either.

The film ultimately works only for its actors but most do not get to flex their talent in a script that is trying to tell too many things at the same time.

Ratings: 2.5/5

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October Review

Cast: Varun Dhawan, Banita Sandhu, Gitanjali Rao
Director: Shoojit Sircar
October, directed by Shoojit Sircar, is a thoughtful, meditative film about love, grief, mortality, and the making of a man.

When a freak accident puts a young girl in hospital, the incident has a life-altering impact on her co-worker. Varun Dhawan plays Danish aka Dan, an immature twenty-something-year-old who works as a trainee at a Delhi five-star hotel along with several others, including Shiuli (newcomer Banita Sandhu) whom he knows as any other colleague. But her fatal condition following a mishap affects him much more than it does the others, and he singularly commits himself to her recovery.


It’s a thin idea, but Juhi Chaturvedi’s script brings nuance and beautiful complexity to this premise. The fact that Dan and Shiuli – who are not at all alike, and are barely even friends – become unexpectedly connected by something that resembles love is communicated without fuss or fanfare.

This is a film that asks to be felt. Very little actually ‘happens’ during the course of its running time. A lot of it is about waiting – on the part of both the characters on screen, and us, the viewers. Yet the languid passage of time – conveyed through the change of seasons – is crucial to the experience of the film. The pace is deliberately slow, as if Shoojit wants us to feel every excruciating minute of watching a loved one’s life hanging by a thread.

There is great sadness at the heart of October. I watched much of the film choked with emotion, and when it was over I wanted to be alone. It’s likely that some may feel the film ends too abruptly, or that characters and narrative threads are left without closure. But that is by design. Shoojit and Juhi have crafted a film that makes no grand announcements. There is no spoon-feeding, there are no manipulative music cues. Like life itself, the events in the film creep up on us without warning.

Our window into the world of the film is through its characters. Varun Dhawan strips away the affectations of the Hindi film ‘hero’ to play Dan, whom we first meet as a permanently irritable fellow in a job where he has no business being anything but polite. Dan’s awakening, his coming of age, is conveyed through a nicely realized performance from Varun, whose sincerity is unquestionable. Lighter moments, like his exchanges with a nurse, bring much-needed respite in a grim, mostly quiet film.

Banita Sandhu lets her big, beautiful eyes do most of the work for her, and it is again by design that we know so little of Shiuli – and what’s in her heart – even when the movie ends. Offering a deeply affecting performance as Shiuli’s mother, Gitanjali Rao is a portrait of grief, her face a canvas that reveals the progress and deterioration of her daughter’s condition.

The other ‘invisible’ character in October, and just as effective, is the strong sense of atmospherics. The evocative cinematography, a keen attention to detail, the unflashy score, and the unhurried pacing all work together to transport us to the world of these people, and to deliver a kind of immersive sensory experience that is unique to this film.

Unlike the case with Shoojit and Juhi’s previous collaborations Vicky Donor and Piku, the mood in October is decidedly somber; there’s very little to laugh about. Be warned the overwhelming sadness will take a piece out of you. If you allow it though it has the power to change the way you look at love and life.

I’m going with three-and-a-half out of five.

Rating: 3.5 / 5

What’s your reaction to October?

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Lost In Space Review


After grim, dystopian sci-fi series and films like Altered Carbon and Mute, Netflix’s new show Lost In Space is more family-drama than it is in the sci-fi genre. The reboot of the classic 60s series and movie, the series is a modern update to the old storyline with suitable changes. So does that mean space-lovers have found another binge-worthy watch? Unfortunately not. The story is of the five-member Robinson family who set out to colonise a new planet Alpha Centauri, after conditions on Earth aren’t viable enough to sustain life for much longer. The Resolute (the main shuttle carrying families to their new world and new life) gets attacked and the family lands on an alien planet with a (conveniently) viable environment. The youngest member of the family meets an alien-robot crashed on the same planet and thus begins the emotional journey of friendship, trust, betrayal and a lot of said as well as unsaid family matters.

The series relies less on thrills and more on drama. Being stranded on an alien planet, the Robinsons keep battling their weaknesses and fear instead of battling or exploring this new, unknown land, which, again very conveniently, has almost no threatening life form that could overpower humans with no weapons. The basic rule here isn’t survival but compassion for others, even if that means compromising the lives of 30 other people for one dying soul.


There are certain inconsistencies in the storyline, which either maker kept deliberately to keep the viewer guessing or to make his own stories or simply didn’t care enough to complete.

The one hour long episodes neither offer the quintessential alien-life thrills nor does it offer heart-wrenching drama, it’s somewhere in between ending up more like a hopeful tale of survivours with (almost) happy endings. The pace of the story and actors do keep you invested but in a ‘two-episode-a -day’ kind manner. In two hours you get mentally exhausted by the repetitive emotional lines and few predictable scenarios. You know who the hero is and you know who will end up as the ultimate villain.

Talking about the cast, while all others fit their bill perfectly it’s Parker Posey’s Dr Smith who takes the cake. Dr. Smith is manipulative, selfish survivor who keeps the interest alive in the series. She knows what she’s doing is wrong but is in denial at accepting herself as the villain of the story. Posey’s sincerity in few scenes and vulnerability in others make you sympathise with her often. Talking about the central character Will Robinson (Maxwell Jenkins), the young 11-year-old boy is just too naive and innocent as compared to the situation he is in and the kind of family he’s grown up in. There are moments when you feel the Will character has been written only as a tool to create perils and not as a personality to exist among the other members.

Overall, Lost In Space isn’t a worthless series but yes, Netflix does offer better options. It isn’t binge-worthy but if you are looking for a show on familial ties based outside of earth, this might just be your pick. Plus the note with which season 1 ends, gives you hope for a more thrilling and fast-paced season 2. For now, its a pretty average watch where favourable things keep happening in unfavourable circumstances.

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October Movie Review: Varun Dhawan Proves His Worth In Shoojit Sircar’s Poetic Lovestory

Cast: Varun Dhawan, Banita Sandhu
Director: Shoojit Sircar 2017 was characterized as the breakthrough year in Hindi cinema when experimental and low-budget films with content made it big and instead of a Khan or Kapoor, Rajkummar Rao became the actor of the year. However, one youngster who kept the hopes of masala potboilers alive was Varun Dhawan. Touted as the most commercially successful actor of the younger lot, the actor is known for his boyish charms and an acting style inspired by the likes of Salman Khan and Govinda. So when Shoojit Sircar decided to cast him in his ‘not so glamourous’ October, eyebrows were raised, but Varun’s portrayal of a naïve and innocent Dan puts all doubts to rest.

Sircar’s latest offering is heartwarming, soothing to the eyes and as poetic as it could get while remaining close to real life. The story is that of a Hotel Management student Dan who isn’t very fond of the roles given to him in a 5-star hotel, where he’s working as a trainee. Then, there’s his course mate Shiuli, who Dan doesn’t like much because she shines at every task that he fails. How a fateful accident brings them closer and changes him as a person, is the story of October.


Once again it’s the story and the flow of the narrative that wins your heart. There are long pauses and silences with shots of corridors, or ground, with no activity, and in this stillness, you find the rhythm of the story. The film relies heavily on this silent rhythm, giving you enough time to think and contemplate the pain, suffering and understanding of each and every character present on-screen. Sircar once again proves his mastery in making the simplest of incidents and situations seem remarkable and his eye for details, be it a setup or a counter-reaction, is commendable.

In an interview, he had said that he never thought of Varun during the development of the character of Dan and after watching the film you would know what made him make this unusual choice. The innocence and boyish charm of Varun have been put to good use in the film. October is clearly Varun’s biggest risk so far, and he justifies his move beautifully. The way he gets attached to Shiuli and evolves throughout the film is satisfying to look at. You as an audience feel proud of all his decisions. Varun’s conviction makes you feel for Dan, even though he isn’t ‘that perfect character’.

The film isn’t perfect. It has its flaws but so does life. Another thing that catches your breath in the movie is the cinematography. The way Aveek Mukhopadhyay makes you experience Delhi, Manali and even the basement of a hotel is brilliant.

Calling October a simple slice of life drama wouldn’t do it justice. It’s a poem with its own pace, rhythm and a beautiful story of human bonding that’ll make you believe in selfless romance. Varun sets the bar high for himself as he proves his worth as an actor and not just a mass entertainer. Bandita Sandhu as Shiuli fits the role and the entire supporting cast just keeps the story fresh and intact.

October is one story that will remain in your heart even after you leave the theater. Oh, and if you are wondering why the film has the name of a month as a title, Juhi Chaturvedi and Shoojit Sircar provide a beautiful answer to that too.

A poetic journey that’ll warm your heart and might even want you to fall in love with the name Shiuli.

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Mukti Bhawan Review: A Heartfelt Film About Life And Death

After screening the film Mukti Bhawan at multiple international film festivals, and winning applause from the viewers world over, the makers release the much-talked about film in theatres today.

Directed by Shubhashish Bhutiani, the film features Adil Husain and Lalit Behl in key roles. It revolves around a unique bond between a father and son after the former decides to dies in Varanasi and his son is compelled to join his journey.

From the real emotional tension that develops amongst the central characters and Adil’s predicament over whether he should leave his dying father, the film deals with it all.

Will the film which has already been premiered in Venice Film Festival, and bagged the UNESCO award for peace and human rights and also shown at Dubai International Film Festival among others be able to give a better understanding of life and death?

Divya Pal is watching the film to live tweet the experience.

1:52 PM Stay tuned for live tweet review of #MuktiBhawan.

2:01 PM Shubhashish Bhutiani’s debut feature is an interesting take on relationships and most importantly life and death. #MuktiBhawan

2.02 PM #MuktiBhawan begins with a dream sequence which sets the tone of the film.

2:04 PM Even though we are just 15 minutes into the film, we have started feeling the story. So real. #MuktiBhawan

2.05 PM Adil Hussain, who’s won special mention for #MuktiBhawan, has a hectic work life, but tries hard to shoulder all responsibilities in film

2:06 PM A wrestler, group of sadhus giving suspicious looks, a couple of clueless men – shots of Varanasi are so true. #MuktiBhawan

2:08 PM Mrityu ek prakriya hain. Aap us prakriys SE guzarne me liye taiyaar hain? #MuktiBhawan

2:19 PM Most of the shots of #MuktiBhawan will remain with you. For, each comes with a unique perspective.

2:23 PM Lalit Behl is such a fine actor. He has understood the nuances of his character really well. His tantrums are genuine. #MuktiBhawan

2:36 PM This one sequence between Adil and Lalit where they can’t stop crying will leave tears in your eyes as well. #MuktiBhawan

2:37 PM It’s interval. #MuktiBhawan first half is genuine, relatable and heartfelt.

2:48 PM There is a lot to learn from grandparents. The bonding between grandparents and grandchildren has been explored well. #MuktiBhawan

2:57 PM Kuch karne na karne se maut nahi aati, mann se aati hai #MuktiBhawan. The film comes with several deep thoughts

3:16 PM Even though #MuktiBhawan gets a bit slow, it doesn’t take away the essence of the topic it covers.

3:47 PM All in all, #MuktiBhawan is film you won’t be able to forget easily. It will make you cry. But laugh too 🙂

3:48 PM Adil Hussain, how do you make an emotionally difficult scene look so easy? We can’t forget your last shot. #MuktiBhawan

3:50 PM #MuktiBhawan may be about death, but not so much about grief and loss.

3:52 PM Watch #MuktiBhawan if you want to better your understanding about life and death. It has insights that will remain with us.

3:54 PM Shubhashish Bhutani remains faithful to the concept of death in #MuktiBhawan. He is honest in the genuine depiction to attain mukti

3:56 PM Lalit Behl shows his humour and seriousness in #MuktiBhawan. Watch his character and you’d remember someone who resembles him completely.

4:05 PM Thank you for staying with us throughout the tweet review of #MuktiBhawan. Stay tuned for more updates.

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