critic

Uday Bhatia

Highest rating for
Lowest rating for
Number of reviews
153
Average rating
44

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Title

Rating

  • Manmarziyaan

    For a director whose narratives are propelled more by dramatic incident than by character psychology, Manmarziyaan represents a bit of an experiment. Though the film is perpetually busy over its 150-odd minutes, there’s little forward movement, and a lot of sideways shuffling.

    Sep 2018
  • Stree

    ...an amiable comedy with a couple of good ideas, too many jump scares and the most confusing ending I’ve seen in a long time.

    Aug 2018
  • Happy Phirr Bhag Jayegi

    ...isn’t a total bust: there are intermittent laughs, and the Indian and Pakistani characters are treated with generosity. But to set a film in China and then spend 135 minutes sneering at the Chinese is, to put it plainly, opportunistic and childish.

    Aug 2018
  • Gold

    The story itself is a nice idea, but that extra beat, that crucial unwillingness to trust the viewer, reveals the film’s insecurities.

    Aug 2018
  • Vishwaroop II

    Haasan has full control over Vishwaroop II – he’s the writer, director, co-producer and star – and yet it keeps getting away from him. The film never settles into a satisfying rhythm: irrelevant scenes are stretched beyond reason and important ones are rushed through.

    Aug 2018
  • Karwaan

    Some of the pit stops in Khurana and Adhir Bhat’s script (based on a story by Bejoy Nambiar) feel gratuitous and the characters never reach out and touch us.

    Aug 2018
  • Fanney Khan

    ...is a well-meaning feint at the issue of body-shaming and an exhortation to not give up on one’s dreams. Yet, it also shows the yawning chasm between intent and execution into which so many Hindi films fall.

    Aug 2018
  • Dhadak

    By replicating the narrative but tossing in caste almost as an afterthought, Dhadak shows the limitations of mainstream Hindi cinema.

    Jul 2018
  • Sanju

    It’s a warts-and-all film that hedges its bets: Sanju baba is rarely kept apart from the viewer’s sympathy.

    Jul 2018
  • Bhavesh Joshi Superhero

    ...is caught in a peculiar bind: it’s a bit too competent to be dismissed, but not original or striking enough to dispel the feeling that it’s all been done before.

    Jun 2018
  • Raazi

    Like she did in Talvar, Gulzar assembles and marshals an expert ensemble. It’s a pleasure watching a detail-oriented director like her collaborate with an actor like Bhatt, who has a knack of making the tiniest gestures count.

    May 2018
  • Omerta

    Mehta’s frequent juggling of timeline and location means the jag and jump of the filmic technique matches the fragmented nature of the narrative. The chaos is needed, for though there’s some shock in Omerta, there’s little surprise.

    May 2018
  • Beyond The Clouds

    ...had it not been Majidi making this, it’s debatable whether Beyond the Clouds, which feels like an artily rendered patchwork of stock Mumbai film moments, would have been on anyone’s radar.

    Apr 2018
  • Baaghi 2

    The ridiculousness of such scenes almost distracts from the noxious nature of this film, which dilutes its near-constant violence with cheaply bought nationalism.

    Mar 2018
  • Hichki

    ...often comes across as parachute filmmaking—dropping in on a problem just long enough to prick the viewer’s conscience and make them feel like they’re watching something meaningful, but avoiding any sort of meaningful engagement.

    Mar 2018
  • Padmaavat

    ...the Karni Sena has unwittingly been protesting a wet dream of Rajput pride. Pride beyond logic, pride in defeat, in suicide, in abetting suicide.

    Jan 2018
  • Mukkabaaz

    ...is a bracing start to the movie year—overstuffed, enjoyable and urgent. It doesn’t have big stars, but feels like a commercial movie in a way that Bombay Velvet didn’t.

    Jan 2018
  • Ajji

    ...is one of the most unsettling experiences you’ll have at the movies this year. Whether it adds up to much more than exploitation-art is another question.

    Nov 2017
  • Chef

    Like the original, it’s a film that’s easily consumed, even if, like the original, the emotional beats being stressed are amusingly obvious.

    Oct 2017
  • Judwaa 2

    Leave your brain at the door, they used to say about Dhawan’s films. I did that today, and when I picked it up on the way out, it thanked me.

    Sep 2017
  • Simran

    After all the drama of the last month, it’s nice to be reminded that offscreen Ranaut, no matter how entertaining or scandalous, cannot hold a candle to onscreen Ranaut.

    Sep 2017
  • Daddy

    It feels like an extension of the idea of the Mumbai gangster as family man that Bheeku Mhatre introduced some 20 years ago, just as Daddy seems to build on the legacy of Satya while pushing the Indian gangster film into darker, more ambiguous territory.

    Sep 2017
  • Baadshaho

    ...may not be a smart film, but it’s a reasonably savvy daft one, inventive enough to revisit a key event from multiple perspectives and silly enough to have Mishra pick a safe in horse blinkers.

    Sep 2017
  • A Gentleman

    By the truly dismal standards of Indian action comedies, A Gentleman is a middling offender—but what does that even mean?

    Aug 2017