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A Delightful Film To Go & Watch With Old Best Friends…Chhichhore takes you down the memory lane and lets you relive that unforgettable but lost time for a while.

As a one-time watch Vodka Diaries could be called as a good entertaining movie with some really well-directed scenes and power packed dialogues. But do not let your expectations soar too high because the fall after that might hurt you real bad and you might return home with a baggage of disappointment and unsatisfaction with you.

If you plan to watch this movie keeping in mind 1920, a disclaimer for you this is nowhere near to Vikram Bhatt’s first and best film of this franchise. You are in for a roller coaster ride with this film, 1921.Where on one end you might find yourself gasping for breath on the other end you might not stop yourself from giggling at times.

For all those who savour and relish gangster dramas, Haseena Parkar can be seen just once, even though it does not qualify to be a ‘must watch’. Secondly, those who idolise Shraddha Kapoor as an actress and worship Apoorva Lakhia as a film maker, you can also watch this film, despite the jarring screenplay.

For all those who have not seen Qaidi Band, we are sure that you will take an instant liking for Lucknow Central for its innovative script and screenplay. The movie will work, but, only if the word of mouth publicity is extremely strong. Still, the film is recommended by us purely for its innovative script and stellar performances by the lead actors.

If you are a die-hard fan of Arjun Rampal or such genre of films, then, the film Daddy is a must watch for you. And for the rest of you, except for Arjun Rampal and the production values in the form of the recreation of the era gone by, there is hardly anything to boast about in the film

If you liked the original Marathi film Poshter Boyz, then, you are bound to like Poster Boys as well. And for all those who have not seen the original, do yourself a favour. Go and watch Poster Boys, which redefines clean comedy, something that Bollywood had been deprived of, for quite some time now. The film, which is definitely bound to pick up majorly through word of mouth, has all the required elements and potential to become a blockbuster.

Even though the film’s trailers and the first time pairing of Sidharth Malhotra and Jacqueline Fernandez created all the possible excitement to drive the audience to the theatres to watch the film, the film, in totality fails to impress. By the time the film ends, it lands up disappointing the cine goer. At the same time, for all those who adore and idolize Sidharth Malhotra, A Gentleman serves as the perfect ‘visual treat’ for them.

Despite the film being extremely simple in its content, the film will pick up only through word of mouth. Rajkummar Rao forms one of the major reasons for the cinegoers to go and see the film.

Jab Harry Met Sejal is a film where I wanted to give out few spoilers so you should read and go watch the film. But, I can’t. Take this as a sign and don’t miss this beautiful journey of life with Shah Rukh Khan and Anushka Sharma.

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You can either be sentimental or bitter about the movies, but you can rarely charm people by being both at once. Unfortunately, the people behind the Indian moviemaking comedy “RK/RKAY” took that risk, and wound up making a mawkish, inert fantasy about a filmmaker whose protagonist escapes his movie within the movie. Writer/director Rajat Kapoor stars as both RK, a past-his-prime filmmaker, and Mahboob, a guileless refugee from a 1950s-style melodrama. RK and Mahboob have a few heart-to-hearts and teach each other how to live better ... in theory, at least.

In “RK/RKAY,” Kapoor often seems as tired and bemused as his popsicle protagonists, all of whom have opinions, but none of whom know what to do with them. I really wanted to root for “RK/RKAY”—it’s a real-life labor of love, having been crowdfunded for less than $500,000—but I can’t honestly recommend a movie whose creators’ acknowledged influences include “ The Purple Rose of Cairo ,” but whose tone-deaf dialogue and blasé filmmaking resemble “ Hollywood Ending .”

RK is, like many of Woody Allen ’s characters before him, a self-pitying stand-in. His glory days are over and gone, as he’s reminded by a clueless restaurant waiter who, being a fan, offers to freestyle a tribute to RK, but winds up improvising a sad eulogy, accompanied by a woozy non-diegetic trombone on the soundtrack: “You carry a smile on your face, but you are dead inside.” RK’s other creative advisers aren’t much more helpful or kind, offering hot tips like “there is no audience for films these days,” “the hero dies in the end[…] that is not so good,” and “You shouldn't have acted in this movie.” Even the praise that RK receives is worthless: “Your last film, sir, it was real shit. This one is not even that bad.” That line could have been funny in a brighter (or at least more dynamic) context. This is sadly one ding among many, all of which RK takes on the chin.

RK struggles to find some self-respect once Mahboob, his movie’s protagonist, escapes his troubled movie-within-the-movie, and tries to see the world for himself. At this point, RK’s narrative stops being unfortunately quirky and becomes downright exasperating.

Mahboob brings out many of Kapoor’s worst ideas, like when RK tries to report Mahboob as a missing person to the police, but can’t even explain himself without a few pseudo-poetic expressions (“I've written him ... I've given birth to him”). Rather than embody a specific kind of melodramatic character, Mahboob is a goony caricature of naive romanticism. Everybody but RK likes Mahboob—“He thinks he’s real” RK snarks at one point, shortly before calling his creation a “one-dimensional twit”—but he’s never more or less irritating than RK. Just look at the scenes where RK tries to convince Mahboob that he’s a fictional character whose “every word” is “weighed and carved” and whose every action is “predetermined.”

Mahboob tries to defend himself with a folksy witticism: “My father used to say that life is beautiful ...”

But RK cuts him off. “Colorful and vivid. Yeah, we know."

Mahboob looks shocked: “Amazing. You took the words out of my mouth ...”

“No, the words were mine. You took them from me.” This exhausting back-and-forth is “RK/RKAY” in a nutshell.

Kapoor teases viewers with metaphysical questions—particularly about egocentricism and its essential role in making art—but always seems to have a rote, self-deprecating answer. There’s not much room for audience participation in this sort of asked-and-answered narrative, not when Mahboob is always ready with fluffy counter-criticism like, “How do you know for sure that you exist? Maybe you are also a part of somebody's story. Just another character. You have just the words that were given to you.” Again, that line could have been funny, but it’s not, because we’re supposed to like Mahboob, or at least understand why a friend of RK’s wife Seema (Kubbra Sait) tells her that Mahboob “is way better than the [husband] you have.” In order for a story of this type to work, you have to believe in the revivifying power of corny movies. Because while we may not always buy what Mahboob is selling, “he feels” and “he believes” it all, as even RK admits.

But the more “RK/RKAY” asked viewers to clap for Mahboob’s Tinkerbell, the less I felt like doing it. Kapoor’s visual compositions are flat and his scenes don’t have much rhythm, either internally or from scene-to-scene. There’s also a groanworthy pop culture reference or line of dialogue to pre-emptively address every one of the movie’s glaring weaknesses, and most of them are unconvincing. Because it’s a cop-out to hide behind platitudes (“My father used to say: if your heart is unblemished, the world appears pure”) and then ask people to appreciate your intelligence by throwing up a few movie posters—“ The Invisible Man ” and “ La Dolce Vita ” are just two of the posters in RK’s editing bay—and other blank cinematic signifiers (mostly movie props and costumes). “RK/RKay” seems to have a lot to say about Kapoor’s complicated cinephilia, but I tend to agree with Mahboob when he explains why he doesn’t want to return to his creator’s movie-within-the-movie: “I lived there, but that life was not real."

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Simon Abrams is a native New Yorker and freelance film critic whose work has been featured in  The New York Times ,  Vanity Fair ,  The Village Voice,  and elsewhere.

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Good story great actor & direction

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Best Thriller Movie Ever��

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Best Thriller Movie

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Super movie this is one of the best movie I have ever seen

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National Award winning film. Very nice.

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Netflix Acquires Horror-Thriller ‘Don’t Move’ Produced by Sam Raimi (EXCLUSIVE)

Kelsey Asbille and Finn Wittrock star in the Sam Raimi production

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Netflix has taken worldwide rights on the horror-thriller “Don’t Move,” a new genre entry from producer Sam Raimi (“The Evil Dead,” “Drag Me to Hell”).

The project is led by Kelsey Asbille, breakout on the FX anthology series “Fargo” and “Yellowstone,” alongside frequent Ryan Murphy player and “The Big Short’ star Finn Wittrock .

It follows a seasoned serial killer who injects a grieving woman with a paralytic agent while the two of them are isolated deep in the forest. As the agent gradually takes over her body, she must run, hide, and fight for her life before her entire nervous system shuts down.

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CAA Media Finance and Capstone brokered the deal with Netflix, whose film vertical was just taken over by veteran producer Dan Lin. The streamer will release the movie to subscribers worldwide, excluding Poland and the Commonwealth of Independent States.

Raimi and Zainab Azizi produced “Don’t Move” with Sarah Sarandos, Alex Lebovici for Hammerstone Studios and Christian Mercuri for Capstone. Executive producers include David Haring, Roman Viaris and Ruzanna Kegeyan for Capstone; Petr Jákl and Ara Keshishian for ZQ Entertainment; Michael Pessell, Roger Chenn, Marc Manus, Schindler and Netto.

Asbille is repped by CAA, Entertainment 360 and The Initiative Group. Wittrock, who last appeared in Ava DuVernay’s “Origin,” is also at CAA. Both the writing and directing teams are repped by Gersh, management firm Persistent and Ginsburg-Daniels-Kallis.

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