Sudhir Srinivasan

The more emotional a scene, the funnier it can get: Bad Boy for Life Directors

If not for the pandemic, I think the James Bond film, or something else, may have eclipsed us. Regardless, this is an honour, and we are happy.

Why the Cobb-Mal relationship in Inception isn’t a tragedy

I’m talking of the Cobb-Mal romance that occurs in a dystopian wasteland, a romance that unravels more in our minds than in the film—which is only fitting, considering that much of Inception happens largely in its characters’ heads.

Cocktail Movie Review: A dreadful brew that stinks of bad humour

Much like this cocktail made by Yogi Babu and friends is a mixture of drinks that have no business coming together, the story of this film is an unsettling union of bizarre ideas, including a replica of a smuggled idol, a dead woman who may or may not be drunk, and a cop (Sayaji Shinde) whose boss yells, “En thaaliya arakaadha”, in a bid to pressurise him to solve a case.

Krishna and His Leela Movie Review: An effortlessly deep exploration of modern romance

Krishna and His Leela manages to do this beautifully, treading the delicate line between vilifying and idolising him. It simply paints him as an average young man, prone to the very human follies of instinct and desire. It achieves this neutral ground because it’s not in love with him.

Penguin Movie Review: Keerthy Suresh is good, the film is not

It’s a film whose fleeting intrigue never truly builds into something bigger. Perhaps composer Santhosh Narayanan spotted this and realised the consequent futility of attempting to build on the shallow horror in the material. Perhaps that’s why in scenes featuring a mother bawling over a lost baby, his music remains curiously detached and blithe—like it were simply killing time by itself.