critic

Shilajit Mitra

Highest rating for
Lowest rating for
Number of reviews
16
Average rating
44

Order by

Title

Rating

  • Uri

    ...plays out in the precarious sub-genre of the 'well-made' propaganda. The ambitious production design and consistent visual flair come scarily close to masking out the timely histrionics. The film is well-executed, if not well-intended.

    Jan 2019
  • Simmba

    ...is a decent enough commercial film when not angling for resonance — with some of the funnier lines really popping on screen — but its self-serious orations on the topical issue of rape make a parody of the whole situation.

    Dec 2018
  • Zero

    This film reimagines the all-consuming charisma of its leading man with a cool spin, but constantly cushions it in padding just in case he falls. The result is a middling vaudeville occasionally lifted by a clever line or a peak in the music score, pushing towards a trite and predictable climax that can be seen from space.

    Dec 2018
  • Kedarnath

    Abhishek Kapoor melds two difficult subjects — interfaith romance, natural calamity — while working within a moderate budget. The writing is clunky and the payoff unearned, and everything feels like a drag at the two-hour runtime. The execution hurts the most.

    Dec 2018
  • Bhaiaji Superhittt

    Films like Bhaiaji Superhit were once considered senseless fun. Today, they bear the shuddering foretaste of a zombie apocalypse, one where out-of-wind actors raise the undead of their past glories and come rushing towards the audience, desperate for one last bite.

    Nov 2018
  • Tumbbad

    It is not easy for a subversive horror film to trim away its genre tentacles and still land an 800-screen release. Tumbbad has pulled off a rare trade-off, but its authenticity has taken some beating. It is the closest we have come to breaking new ground, but is it really the way forward?

    Oct 2018
  • Manto

    It makes brave pronouncements on artistic freedom, religious violence and abject nationalism without losing sight of its investigative rigour— the film illustrates; it does not preach. Such mindfulness is often absent in our cinema, a medium so susceptible to rage, but Manto stands apart as a poignant exception.

    Sep 2018