Poignant, Powerful The Lunchbox is my favourite love story of the year. It’s sweet, sad and deeply aching. Debutant director Ritesh Batra captures the harrowing loneliness that a metropolis like Mumbai fosters, the hope of happiness that glimmers and enables us to go on.
War Chhod Na Yaar, a satire on constantly warring India and Pakistan, has a few fun moments. Debutant writer-director Faraz Haider creates a genuinely nice scene in which soldiers on opposite sides of the barbed wire play antakshri. Anupama Chopra writes.
I thought that in the age of Google, filmmakers would be reluctant to flat-out steal someone else’s work. Without a hint of discomfort, debutant director Ahishor Solomon lifts plot, scenes and dialogue from the crime thriller Box 507, writes Anupama Chopra.
It breaks my heart to tell you that Chennai Express left me cold. This hyper, eager-to-please Rahul sorely tested my patience. And after a while, the innumerable references to DDLJ seemed like a lazy shot at siphoning some of the enduring affection we have for that film. Anupama Chopra writes.
An accurate way to describe Besharam would be to call it the cinematic equivalent of a dinner made with leftovers. There is a bit of everything, nothing is exactly fresh, and in the end you’re left wondering if it was wise to have chucked it all in together. Sarit Ray writes.