'The non-cinephiles may hold up Sholay as their personal favourite and the cinephile lot may quote something like 8 1/2 as the movie to load with them on the ark.' 'But for a good percentage of these people from both categories, if there is one film to simply laze around with, a film that can extract them from their dull funk, it's definitely DCH.'

Ever wondered why a celebrity can charm you?

'Of all the Superstar Khans, I still believe that Shah Rukh Khan is the one most capable of surprising me,' says Sreehari Nair. 'I always have this feeling that that great Shah Rukh Khan turn that would somehow hold all his vaporously brilliant elements together is just around the corner.'

'He may be a scientist, a poet and a brat. And in addition to all this, Virat Kohli is also cricket's No 1 Rollerblade-Artist,' says Sreehari Nair.

How do you even define a movie that primarily exists as an invitation to its audience -- an invitation to come and merely laze around with a set of interesting characters, asks Sreehari Nair.

'Mahesh Bhavana is a young man who is beaten up in the town's marketplace and who consequently pledges that he won't wear his slippers again, till he avenges the beating.' 'But Mahesh can't get his revenge that easily -- his punisher is off to a distant land. So what does Mahesh do? He waits. And the town waits with him. And we wait with him.' 'Maheshinte Prathikaram is one of those movies where I didn't know what hit me. I don't remember another movie -- at least in recent times -- that I surrendered to with such happiness,' says Sreehari Nair.

'Peddlers isn't a movie of grand cinematic achievements, but one of small yet startlingly original victories.'

'The directors of these movies to me are less like artists and more like red-pen remarkists, whose idea of a script is basically checking off the broadest of issues in the broadest possible ways: Sexism, Check. Misogyny, Check. Loving yourself, Check,' says Sreehari Nair.

'2015 gave us a set of Hindi films that brought to light, the true uncorrupted joys of filmmaking even in their roughness.' 'Films which told us why we loved films in the first place. Films that were less ashamed of revealing their weakness and ones that took chances with audience expectations.'

'The real problem that has affected Tarantino's films is not their amorality. On the contrary, it's their misplaced morality.' 'The basic pitches for his movies, off late, tackle such pre-resolved issues, that they don't quite allow his pop-culture sensibilities to hit a crescendo and instead reduces them to trinkets in service of broad movie prototypes.' 'Which means that neither history nor cinema triumphs.'

'Badlapur,' says Sreehari Nair, 'proves that sometimes there are more personal truths to be discovered in our trash cans than in our neatly arranged book-shelves.'

There are no real people in Tamasha -- there are only character-types written in little pink balloon-letters, all floating in cloudland, feels Sreehari Nair.

'Mistaking carnality for sensuality, X: Past Is Present rings as too literal-minded and too talky, with a technique that just about drains any real density or genuine playfulness that may exist beneath all the talk,' says Sreehari Nair.

No-Punchline humour reminds us how in our daily lives, we all are by turns 'The Corrupt Politician we criticise,' 'The Chauvinist Male we frown upon,' 'The Rule Breaker we deride through our Facebook posts,' 'The Communal Virus we so easily lampoon' and 'The Bad Artist we spoof.' In a land where the aforesaid prototypes are our major sources of 'funny,' is there an audience for the NPL kind of humour, asks Sreehari Nair.

'Both Main Aur Charles and Titli are essentially stories of two plot-devices that became protagonists. You cannot relate to Titli or Charles, without submitting to the knowledge that neither of them are well-rounded characters; they are more like artifacts -- Charles, a schlock artifact and Titli, an artifact of spirit toughened by years of live brutality.'

The propaganda aspect of the movie -- despite it stemming purely from the writer's deepest convictions -- is a clincher for it is highly unlikely that you'll walk out of a screening of Talvar saying, 'I loved the movie, but I still think the parents are guilty.' If you are swept away by the power of the movie, it's also sure to swing your perception in a certain direction,' says Sreehari Nair.

'Why is it that we are so forgiving of the glaring problems in grand multi-starrers like Dil Dhadakne Do,' asks Sreehari Nair, 'but when a small film with a truly personal vision seeks our approval, we analyse it through a prism of formal perfection?' 'With its Seinfeldian humour, episodic structure and performers who play off each other's energies, Meeruthiya Gangsters goes farther than most Hindi movies.'

'The best Indian movies today are ones that portray life as "something that doesn't end when the movies do".' 'There's no real arc to traverse or easy lessons to learn. And Irrfan and Nawazuddin -- who can both swerve a movie purely on the strengths of their instincts -- are just the perfect actors for this kind of movie sensibility,' says Sreehari Nair.

'While Television generally tends to Clarity,' says Sreehari Nair, 'Arnab Goswami's The Newshour Debate portrays our confusions. Each episode offers both the potency of an intensely-fought boxing match and the giddy pleasures of an orgy.'

'Every time I watch Sholay telling myself that it is nothing more than a 'brazen potboiler,' the movie works. However, each time I take it for this iconic masterpiece, Sholay falls short; terribly short,' says Sreehari Nair.