Old hindi blu filim masala cut peese

Diljit Dosanjh is a quiet marvel – he shows us a man of limited intelligence without making him stupid.

Alia Bhatt isn’t as convincing here as she was in , her other film where she broke expectations of what an actress like her should be seen doing on screen, but then, her character doesn’t have that much of an arc here. As with the others, she does more for the movie than the movie does for her.

Every scene screams, “We did all this research and we’re going to share it all with you.” Everything is spelt out in dialogues.

It isn’t enough that the Alia Bhatt character (in a gimmicky conceit, she remains unnamed) looks longingly at a billboard that positions Goa as an exotic holiday destination – she also gets a scene where she talks to Tommy about this billboard, about her dream of going to Goa. I nearly fell off my chair when she said, “Drugs are taken by one person, but the impact falls on the whole family.” Lady, you don’t say! I come back to the icky thing about expectations, but after all the fuss with the Censor Board, I thought the edge factor was off the charts – so imagine my surprise when I caught myself sitting through the most , and he’s a changed man.

Please feel free to suggest books that might be critical omissions.

opens with trees swaying in the breeze at night, topped by a handful of stars. And then, the man on the ground takes the packet and, in the style of a discus thrower, launches it into the sky.

Throughout, the link between her and Tommy is foreshadowed through the editing, which cuts from her astonished face (on realising the money she stands to make by selling drugs) to his stunned face (finding himself in prison), or from a shot of her in water (a hallucination that also links to Goa) to him in a swimming pool.

Chaubey belongs to the Vishal Bhardwaj school, and his detailing is impressive, immersive, with unexpected links cross-stitching the narrative canvas.

I wished she’d had at least a moment or two to cut loose, or at least lose the halo., where a top-notch cast and crew cannot disguise the truth that the underlying material, all these revelations, are so banal – and the banality is heightened by the surrounding aspirations to High Art.Scenes with barely anything interesting in them are allowed to go on and on, with dialogues that are distractingly “writerly.” And for all the Manmohan Desai-like coincidences, with people stumbling into each other, the film is too high-minded to simply entertain.It isn’t enough that Tommy brandishes a gun at his uncle (Satish Kaushik, who’s terrific), and we register that withdrawal from drugs can induce as much bizarre behaviour as taking them – we also get the follow-up, with the uncle explaining that such bizarre behaviour is only to be expected when withdrawing from drugs. His eyes open as if shown God’s light, and he seeks redemption for getting kids hooked on to drugs by freeing someone from drugs. When escaping from angry fans, he takes refuge in a dilapidated mansion (which may be a metaphor for something; almost everything in this film is), where someone asks, “, with specific inner lives – but the flashes of character, when they do arrive, are wonderful.Sartaj’s druggy declaration of interest in Preet is a marvellously woozy moment, and the way the Alia Bhatt character’s past is revealed through an action scene is pure genius.

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