If you happen to like this film, I have to assume there's something seriously wrong with your idea of a journey, Sreehari Nair says.

Ittefaq has a gagster attitude, plenty of light touches, and it announces Abhay Chopra as a mainstream talent to watch out for, says Sreehari Nair.

Rukh may be lit like a YouTube Short Film, and may have its share of other technical problems, but there's something disturbingly original about director Atanu Mukherjee's vision, Sreehari Nair feels.

The heist stretch of the movie is not without imagination, but arriving at that chunk, and sitting through what follows, can be bad for your skin, warns Sreehari Nair.

True misogyny is when you stop being curious about women, and Milind Dhaimade directs his actresses with a sense of wonder. Tu Hai Mera Sunday has delightful women characters, sketchy men, and individual threads that work better than the whole package, feels Sreehari Nair.

While filled with startling insights and questions, and buoyed by terrific performances throughout, Newton suffers from a lack of end-to-end clarity. It is a near-great film but one that for some reason doesn't express itself fully, feels Sreehari Nair.

'The bumblebees in Par Ek Din may not be flying yet, but even as they dangle in mid-air, their stings hurt.' 'Effortlessly graceful, this is a work of passion that conveys what being passionate about something truly feels like,' says Sreehari Nair.

'The way the daredevil feats are set up, they don't have the maniacal feeling of actual gun battles, or good jazz, or a whacked-out dance performance -- they just don't provide you that giddy tingle you go looking for in such films,' feels Sreehari Nair.

'This slender yet joyous film introduces so many fresh insanities and has such an endless stream of wisecracking that it takes on shades of a running ballad,' notes Sreehari Nair.

Director Shanker Raman, with an appetite for noir and a natural temperament for fast-cutting, takes you so swiftly and so deeply inside Gurgaon's anomie that you may mistake his vision of the city for some dystopian view of the future, feels Sreehari Nair.

Raag Desh is one of the best films of the year, Sreehari Nair raves.

Indu Sarkar is an effective propaganda movie only to the extent that it knows its mission-statement and knows whom to shame and whom to take in its stride, feels Sreehari Nair.

'This is a film that trumpets out its sex -- it is content in being a girl's version of the archetypical boy's locker-room picture.' 'And if it was just that, that would have been fun too, but Lipstick Under My Burkha doesn't want to affect your senses, it wants to control your mind!' Sreehari Nair comes away unimpressed.

Half a dozen reasons why Sridevi is to the camera born. Sreehari Nair lists them out.

Homecoming fuses the kinky-swiftness of the original superhero movies with the silly concerns of a 2017's teenager, points out Sreehari Nair.

'Movie plots clearly don't excite director Dileesh Pothan as much as true stories where life had come dizzyingly close to becoming like a movie and then, had fused back with life.' 'This means that a conversation he overhears at a tea shop is more likely to give Pothan a setting for his next picture than a brainstorming session inside a conference room,' says Sreehari Nair.

The key to every Daniel Day-Lewis performance was a big theme and a thousand details. And in the final phase of his acting career, says Sreehari Nair, America became his big theme, and the details... well, he just popped them out like waffles.

'How can you blame poor Kabir Khan for the Tubelight fiasco?' 'We know that his Job Description expects him to work below full capacity, to sell his soul, and we know his SOP-sheet has the title: Design the next Salman Khan Project.' Sreehari Nair sees through Kabir Khan's cunning.

Chaitanya Tamhane's National Award-winning film seems more relevant today than when it released, says Sreehari Nair.

'2 hours and 20 minutes later, I walked out of Sachin: A Billion Dreams learning not one additional thing about Tendulkar: Not one factoid, not one statistic.' 'Maybe it's convenient filmmaking, or maybe just the essence of God,' says Sreehari Nair.