This edition of the Star Wars franchise may not be the most glitzy, but it has identifiable political connotations configured in its stylization
What we have in Wajah Tum Ho is a badly executed movie, stuffed with cliches and hackneyed scenes
Adoor Gopalakrishnan’s new film, illuminated by an intimate absence, strikes a fine balance between the existential and the sociological
This is a film which could have said much more than it does about industrial accidents
The movie is the same old mundane, post modern angst about the impossibility of separating love and lust that we have seen in Hindi films over the last few years