Luca Guadagnino may not know his game intimately, but this remains a fun outing.

The film has not yet been released in India where it has been set.

Shirsha Guha Thakurta’s film has the cultural hangover of too many American sitcoms.

A sequel to his own 2010 film Love Sex aur Dhokha, 14 years later, Banerjee uses the same conceit to cast an eye on a society that forgot to log out.

Imtiaz Ali’s filmography has always been obsessed with mavericks, people who can’t simply keep their head down and go about their ‘normal’ course of life.

One of the most disheartening things about the last decade in Hindi cinema, is how the sports film and war film have become indistinguishable.

Garland’s film observes how hard the job of a journalist is: to record events without contaminating them, allowing the audiences to witness them at their most raw.

Crew never becomes the ensemble film it is meant to be.

Often, the show catches the viewer off-guard, with occasional touches of a Hollywood thriller.

Kunal Kemmu is great as a funny actor, but his directorial debut is dated in its jokes.

The world in Sadasivan’s primarily black-and-white film is impressively atmospheric and often teases that its commentary is more profound and novel than it is.

Andrew Haigh’s film is an adaptation of a 1987 Japanese novel by Taichi Yamada called 'Strangers'. As much as it traverses the supernatural/magic-realism path, the grief and longing here is deeply personal.

Her film recalls those of Hrishikesh Mukherjee's, where a bitter pill was coated with some sugar.

Denis Villeneuve ensures that the film is not just for fans of the franchise but also stands on it own.

The dreams of IIT aspirants in coaching classes are sometimes sharp and often nostalgic.

Mehta’s cynicism with the state of the nation shows up in the series' staggering finale, including the horrors of mobs and a thrilling chase sequence where law enforcement officials become the prey of TV vultures.

Written by David Hemingson, Alexander Payne’s film is assured and restrained in all the right ways. It might seem like it belongs to the sub-genre of ‘comfort’ watches during the holiday season, but there’s plenty of darkness under the edges.

What hurts the six-episode show is its brisk 25-35 minutes runtime per episode, which results in complex issues being magically resolved or narrative lighthouses appearing out of nowhere.

Director Sean Durkin uses the metaphor of American wrestling to show how a family becomes a cult.

A feature film of the 2014 documentary about the “worst football team in the world” fails to score on many counts