Archive for the ‘bollywood’ Category

Anurag Kashyap’s Gangs of Wasseypur selected for Cannes Directors’ Fortnight

Posted: April 24, 2012 by moifightclub in bollywood, cinema, film, Film Festival, News
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It’s raining good news and how! After Miss Lovely and Peddlers, the latest one to join the Cannes club is Anurag Kashyap’s two-parter Gangs of Wasseypur.

The film will be screened in the Directors’ Fortnight Section. Produced by Viacom18, it stars Manoj Bajpayee, Nawazuddin Siddiqui and Richa Chaddha.

Interestingly, Peddlers is also produced by Anurag Kashyap Films. So Peddlers and two-parter Gangs of Wasseypur in the same year. That’s a hattrick! And if you count Udaan, then Un Certain Regard, Critics Week and  Directors Fortnight has been cracked. Now AKFPL just need to crack the competition!

According to its official release,  the Directors’ Fortnight is distinguished by its independent-mindedness, its non-competitive nature and its concern to cater to non-professional Cannes audiences. Striving to be eclectic and receptive to all forms of cinematic expression, the Directors’ Fortnight pays particular attention to the annual production of fiction features, short films and documentaries, to the emergence of independent fringe filmmaking, and even to contemporary popular genres, provided these films are the expression of an individual talent and an original directorial style.

Click here to read Kashyap interview on Gangs of Wasseypur.

(PS – To know more about the Directors’ Fortnight section and selection, click here.)

Vasan Bala’s Peddlers selected for Cannes Critics’ Week 2012

Posted: April 24, 2012 by moifightclub in bollywood, cast & crew, cinema, film, Film Festival, first look, Indie, News, pics
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I am not sure how and where to start this post. Still too excited about the news. But let’s get the news first. Vasan Balan‘s debut feature Peddlers has been selected to premiere at Cannes International Critics’ Week. Yay! And since this is his first feature, it’s also going to compete for Camera D’Or. Every year only seven films are selected for Critics’ week and this year Peddlers is one of them.

To quote the official synopsis, Peddlers – A ghost town, Mumbai, inhabited by millions. A lady on a mission, a man living a lie, an aimless drifter. They collide. Some collisions are of consequence, some not, either ways the city moves on.

And here’s the cast and credit list..

Director : Vasan Bala
Screenplay : Vasan Bala
Cinematography : Siddharth Diwan
Editing : Prerna Saigal
Sound : Anthony B.J. Ruban
Music : Karan Kulkarni

Cast: Gulshan Devaiah, Siddharth Mennon, Kriti Malhotra, Nimrat Kaur, Murari Kumar, Sagai Raj, Megh Pant, Nishikant Kamat, Neeraj Ghaywan and Anubhuti Kashyap.

And here are some stills from the film..

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And now the news bit is over, i am going to write and behave like Vidhu Vinod Chopra.

It seems like yesterday. Vasan pinged me on gmail and then shared some pics. I said, wow, this guy looks like Andrew Garfield. Vasan – fuck, you got it so bang on.  I have been telling all about the Garfield thing. When it comes to cinema, this wasn’t the first time we were on the same page instantly. May be that’s why we bonded so well since we first bumped into each other at a blogging site called passionforcinema. Now it’s dead. Me, him and Kartik Krishnan – it’s been quite a love-hate equation between the three of us since last few years. Except participating in an orgy, i guess we have shared everything else.

And as i sit down to write this post and look back now, i know why i feel so bloody happy for him. Not sure when was the last time i was so happy for someone else. May be because i know how his sweat smells.

By bollywood rule book, Peddlers wasn’t a dream launch. There was no fancy announcement, no articles in newspapers, no big stars to talk about. No posters were designed and no title was thought about. He had assisted Anurag Kashyap for long and was back after  assisting Michael Winterbottom on Trishna. He was getting restless to make his movie but Kashyap wasn’t exactly sure about the script. One script out, another came in, that also went out and he wrote a third one. This went on for some time and then he decided to go ahead and prove it to himself. Whatever happens, he was going to direct. It was going to be a true “indie”. On behalf of Kashyap, Guneet Monga produced it by raising funds from everyone possible. Low budget, low on resources, cast friends and family members, everything on “jugaad“. Come what may, he had to make this film. To prove it to himself, to Kashyap, to us and to people around him.

I went to meet him the day before he was starting his shoot. He looked tired, almost dead. I hugged him, and prayed that he doesn’t fall sick during the shoot. He has a record of falling sick while ADing on films and we always used to joke about it. I had read the script and really liked it too. Was confident about his direction after seeing the two shorts he had directed. Not saying this because he is dear friend. Harsh truth has never been a barrier between our friendship. We have ripped apart each others work many a times in the past. As always, me and KK argued with Kashyap too. Why can’t he see what we are seeing? As always, he also argued, gave his reasons and it was a dead end.

The shooting got over and we saw the rough cut. I wasn’t expecting something like this. This was a new language – minimal approach to filmmaking, if i can call it so. Hadn’t seen something like this in any desi debut film. Everything was pitch perfect except his jeera rice indulgence. I thought if nothing happens, at least this is a great CV to have. Kashyap saw the film and he loved it. And to give credit where it’s due – he publicly announced on twitter that Vasan has proved him wrong. We were relieved. As the inside joke goes, Rahul aur Anjali me phir dosti ho gayee.

By that time we all were getting too excited about it – what can be done to this, where should he send it, the usual gyaan gurus that we all are. Kashyap assured everyone that he really loved it, he means it and he is hoping for the best for this one. He told us to wait, the best will happen soon.

And then, it did happen.

CANNES!

For so much blood, sweat and tears, what else does a filmmaker want?

And once you look at the names in the Critics’ Weeks archives, you realise what it means. Bernardo Bertolucci, Jean Eustache, Otar Iosseliani, Ken Loach, Wong Kar Wai, Jacques Audiard and Arnaud Desplechin to name a few. Or just look at some of the features selected last year – Las Acacias, The Slut, Snowtown, Take Shelter.

Add Vasan Bala and Peddlers to the list now. It can’t get bigger than this for a film where money and resources hardly mattered. Passion and sweat was all that counted – of his and people around him. Because without expecting anything, there are many (cast & crew) who made this film happen as their only motivation was “this is Vasan’s film, this has to be done”. Blame it on his friendship and good will.

And google cache is going to mark it. Because it’s history now.

Cheers, Vasan. ( It’s time to return the favour – don’t you forget to get me a Cannes T-shirt :-))

( PS – And as i have said always, here’s the best film school in this country ——-> @ankash1009)

(PS1 – For more info about Critics week selection, click here.)

(PS2 – Click here to read an interview of Vasan Bala on DearCinema and click here for an interview by Mihir Fadnavis.)

VOTD : Raavan Re-cut – If Vikram was in double role!

Posted: April 22, 2012 by moifightclub in bollywood, Simbly South, songs & videos, video, VOTD
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It was suppose to be Vikram’s big bollywood debut. But what actually happened? Well, we all know the story. The general feedback was that the Tamil version was better than the Hindi one. In the Tamil version, Vikram played Beera, the same role which was played by Abhishek Bachchan in the Hindi version.  And a film buff cut a very cool video – put Vikram in double role. Watch the video.

And he has a cut a new trailer of the film in the same way

TDP + I & B = KLPD?

Posted: April 22, 2012 by moifightclub in bollywood, film, News
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If you are baffled by the equation in the header, let me dissect it one by one.

TDP – The Dirty Picture

I & B – Ministry of Information and Broadcasting

KLPD – That’s easy. And if not, google. One should know it.

So what really happened?

Last year’s one of the biggest hits, The Dirty Picture was suppose to be aired today on Sony TV at 12 and 8pm. Since the film was rated Adult, there was a petition against the film to stop its telecast. But the Nagpur bench of Bombay High Court cleared its screening after the film went through 56 cuts. The PTI report which was carried in TOI is here.

Then last night (21st april) at about 11pm, the I & B Ministry sent a notice and asked Sony to stop the telecast. Print Ads were out in the newspapers today. Promos were running. All of a sudden it was a KLPD. Nobody knows exactly why.

What’s baffling is the way the notice was sent in last minute. Also, once the Court has cleared it, can the Ministry stop it? Am not sure how does it work. If someone knows, please do enlighten us in the comments.

And this comes at a time when the Censor Board is really trying to push the envelope and is in favour of a new rating system. With new members on board, there’s an approach to give more freedom to the filmmakers. It’s like one step forward and two backwards.

This can happen only in this country – the lead actress gets the National Award for the film but the film isn’t allowed to be telecast. May be because the government has better Dirty Pictures to offer, like this one.

The Joy Of Crying At The Movies

Posted: April 21, 2012 by moifightclub in bollywood, cinema, film
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This post was suppose to be on something else. But as it happens with hindi films and matters of heart, mostly we land up somewhere else. And it started with the gorgeous Namesake tribute video posted below. Jahan Bakshi writes on the matters of heart and the magic of silver screen that let the salty waters flow.

Watch the video first and then read the post.

Ever since I posted the video tribute to Mira Nair’s beautiful adaptation of ‘The Namesake’ on Twitter and Facebook, at least 7-8 people wrote back to me with thanks, saying how it made them cry. One of them had recently lost his father. In fact, as I was watching it myself with what seemed like a boulder in my throat, a friend of mine who also lost his father a year back sat quietly, tears streaming down his face. It was absolutely heartbreaking.

One of the many great things cinema has to offer us is a sense of catharsis, and that is a special feeling that becomes increasingly difficult to experience as one watches a lot films and reads a lot about them, becoming more aware of their manipulations and craft. It becomes even harder for a film to overwhelm you when you see it with all the distractions and thoughts that accompany you watching a film at home. I try to watch most films in theatres these days for this very reason, but like we all know, sadly and most often, the only option we cine-buffs have is this.

I miss crying at the movies. I think the last time I sat teary-eyed at a cinema hall was watching ‘The Help’ on an evening that found me in a particularly vulnerable emotional state. I was walking down the road outside my house when a group of guys I don’t know began calling me some names (which I’ll not bother mentioning here).

Not a big deal, really- but for some reason it just deeply upset me. Part of the reason is that while I am no saint or an Aamir Khan, I have never really understood the desire in human beings to hurt others deliberately for no reason at all. All bitching and snarky talk aside, and at the risk of sounding righteous and all, the urge to harm someone is something I have genuinely never felt in my life.

I know this sounds idiotic but while watching the film I thought a lot about why people want to hurt other people, about why people are hated just for being who they are and the general injustice of it all and blah, blah.

It also reminded me of my own nanny, my Didi, who literally brought me up along with my mother as a child, giving me more time than her own children perhaps. I remembered resenting my mother a little when she would tell her off because of anything. Of course my mother cared for her too, and still does, but for me she wasn’t hired domestic help. She was my second mother.

Till date, MilkaDidi– as I call her- sends me a Rakhi every year by post, and sends me birthday cards that probably cost her a lot. I remember her every now and then and think of calling her, but unlike my mother who speaks to her every now and then, I conveniently forget to. Maybe it’s also because I’ve grown up too much and find it hard to make conversation with her as effortlessly as my mother can. Right now, again I am feeling those familiar pangs of guilt. Maybe after I write this, I’ll call her. Maybe… if I haven’t forgotten to store her number again or something.

Now some of you might figure one of the many reasons I love Swades so much.

Anyway, when I came back from the film, I let out all the tears that I was trying to hold back at the movie theatre or as Subhash K Jha would put it: all the liquid contents of my eyes spilled out in a torrential tumble of tantalizing tears.

And I felt lighter. TheHelp is not a ‘great’ movie. It has one of the most cringe worthy scenes I’ve seen in a film in some time, won’t even figure in my Top 15 films of last year. But it made me cry, and for that I am grateful.

At other times when I am not feeling so low and my defenses are not as down like when I wrote this post (Yes, shameless plug, bitchezz!), I’m not as lucky. I saw Weekend recently, an outstanding film that I cannot recommend enough and that I intend on writing about soon. The film is beautiful and heartbreaking… but it didn’t make me cry. It should have, really. Sitting next to me was a friend who doesn’t watch too many films and probably didn’t ‘appreciate’ the film(making) as much as I did. But he had tears in his eyes.

I could have given anything to have that, I tell ya.

PS: Apologies to Kaka…

So when was the last time you cried at the movies?

Every Thing You Wanted to Know About Satyamev Jayate…

Posted: April 20, 2012 by moifightclub in bollywood, News, television, Xclusive
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…But were afraid to ask? Well, that doesn’t quite work out. Let’s say, But you were not sure whom to ask.

First came the teasers (Here, here and here).

And then came the official song where we saw Jesus Aamir Christ, who is here to save us.

But what is the show about? Well, like Aamir Khan’s movies, the show is also being guarded as a top secret. No details are being given out anywhere. And that’s why you don’t see anything about the show in the teasers or the song. But we suffer from a strange disease – the more you want to keep something as a secret, it makes us more curious. If you belong to the same tribe, we got all the answers for you. If you are not, skip the post.

– Satyamev Jayate is basically a chat show with guests and case studies from across the country.

– The first season will have 13 episodes out of which 10 have already been recorded.

– The idea is to pick one subject and discuss it from every possible angle – social, political, economic and such.

– The subjects include health, water, marriage, child issues (abuse and other), addiction and other social issues.

– The duration of each episode is 90mins.

– Each episode will end with a musical performance of a new song. All songs have been composed by Ram Sampath and lyrics are by Prasoon Joshi, Swanand Kirkire, Munna Dhiman and few others.

– The series is directed by Satyajeet Bhatkal (Aamir’s friend and director of Zokkoman) but every decision is taken by Aamir Khan. The final edit call is also his. Nothing is finalised without his approval.

– The series was earlier produced by Big Synergy. But they wanted to make it more commercial and Aamir wasn’t in favour of it. Currently it’s being produced by Aamir Khan Productions.

– Imran Khan and Sridevi will appear in two different episodes of the series.

– The pilot episode of the series was rejected by Aamir himself after it received negative feedback from test audience.

– The first episode is on girl child discrimination and female infanticide. Not sure if they have changed the sequence.

– Do expect lots of rona-dhona was they discuss sensitive issues. Aamir will be in full Oprah Winfrey avatar.

Anything else? If you have some more dope on it, the comment box is all yours.

Script of Anurag Kashyap’s Dev D

Posted: April 15, 2012 by moifightclub in bollywood, cinema, Screenwriting, Scripts, writing
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If you religiously follow the movement of film scripts in blogosphere, you must be aware that the script of QT’s Inglourious Basterds was out almost a year before he started shooting. He did the same with Django Unchained. And that’s not a rare case. There are blogs and websites dedicated to script reviews/news/sales. And since last few years they have the Black List too.

Compare this to the script scenario here. Writers/directors guard it as if it’s life and death scenario. Almost scared to give it out to anyone even after the film has released. And then we find it difficult to churn out even some five good films in a year. I still haven’t been able to figure that out. Though most would happily brag about sending their scripts to Oscar library which is another stupid achievement if you know the truth.

We keep on asking many filmmakers and screenwriters to share their scripts so that we can put it online. Some do, some never get back, most don’t give a fck. If you have missed, we had earlier put the script of Vikramaditya Motwane’s debut feature Udaan (click here) and now we are sharing the script of Anurag Kashyap’s Dev D. Thanks, AK.

Dev D got almost every possible reaction from critics – it was rated everything between 1 and 5 stars. Everything. If you don’t believe me, google. Some of the reviews are listed here .

Interesting thing about Kashyap’s films are that they are never the same which you see on paper. They go through some drastic changes while shooting. Plus, music played a big role in Dev D. So, it will be interesting if you compare the script to the film. Though am not sure which draft/version of the script i have got. It’s written by Anurag Kashyap and Vikramaditya Motwane. Read and have fun.

(PS – Was feeling lazy. Copy-pasted the intro from Udaan script post. Sorry about that)

Sir, May I Have an Opinion, Please?

Posted: April 13, 2012 by moifightclub in bollywood, cinema
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So what have you done to comment on my film or the trailer? – This seems to be every filmmaker’s favourite argument whenever you say something that they don’t like. My film is for common man, not for you. I have always wondered if i can say, sir, i eat, sleep, fart, shit, masturbate and do every other thing that a common man does. Will that count? No? So, here’s filmmaker Kushan Nandy‘s candid take on why we deserve the right to have an opinion. And a filmmaker endorsing this view makes so much sense.

BTW, if you are not on twitter you are missing some good fun – all related to bollywood films and filmmakers. And today is friday. Aha, the fun day. Read on.

I am a two-film-flop director.

My first film- if you may call it so- was so terrible that I think the only person who liked it was Goblin, my dachshund. Incidentally, he passed away after repeated viewings.

My second – the one I am secretly and partially proud of – went unnoticed. Partly because the distributors gave me eleven and a half all-India shows, I had no money to promote it and to add to it, I packed it with Bollywood cliches.

So, actually I don’t have a right to have an opinion. Stop reading now.

For those who have continued, here is the dope. Every time Raju Hirani releases a film, I want to say how much I liked it and what I didn’t. And every time, Bhandarkar releases his next, I want to express how dirty the basin is after continuous throw ups. But the Bollywood law is simple. You have the right to have an opinion only if you are successful.

Hey, wait. The Bollywood, read BullyWood-law is that no one – in absolute terms – has a right to have an opinion. Not critics. Not Twitter handles. Least of all, failed filmmakers.

Don’t comment on the poster. Judge the film on its entirety.

Don’t comment on the teaser. Judge the film on its entirety.

Don’t comment on the trailer. Judge the film on its entirety.

Don’t judge the film. You are being personal.

If you have a personal opinion, tell me personally.

What have you made that you have an opinion?

The only opinion we understand is the one that the ‘common man’ has, the one who spends on the ticket.

Now here are the facts:

You put that poster, teaser and trailer because you wanted an opinion. Correction : You wanted a positive opinion.

Every opinion is personal.

You showed me this film publicly. In a movie theatre with thirty-one people and one usher. I have a right to give you my opinion publicly.

I don’t need to be a Karan Johar to comment on your film. The ‘common man’ is me. I buy six tickets and blow my money and evening on a three-hour film like everyone else. I spend five minutes buffering a one-minute teaser and make an effort of downloading a film poster when I could have spent it more productively downloading porn.

Every critic has a right to comment on your film. Because either you invited him to see it or he has spent his hard earned money to buy the ticket, which invariably makes him your ‘common man’.

Every Twitter handle has a right to comment on your film. Because you inflicted it on them by posting it on Twitter, re-tweeting and spamming the timeline of every man, woman and dog that follows you.

Everyone – successful, unsuccessful, who can or cannot make a film, cast, creed, religion, sex, sexual preference no-bar – has a right to have an opinion. Just the way they have an opinion on the latest book, car, restaurant, cell phone and underwear.

And yes sir, you have a right to have an opinion on my opinion. But you can’t bully me to stop having one. So go out and spend time and make a better film next time.

And I promise you, I will applaud.

PS. And for those who care – and I am sure that it does not include my dead dachshund – I am going out and making my next  film. Hopefully a better one than my last two.

And every, man, woman, critic, handle and porcupine will have an opinion on it.

Bring it on. I will be waiting.

(Pic Courtesy – From Here)

Bollywood’s Rape-O-Meter

Posted: April 10, 2012 by moifightclub in bollywood, film, pics, video
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Among many other things, his twitter bio includes a distinct aspiration – future porn filmmaker. And as we wish him all the best for it, who better than writer-filmmaker Suparn Verma to look back into Bollywood’s past which might have triggered off this aspiration of his. So here’s Bollywood’s Rape-O-Meter according to him. Read on.

Rape is an ugly word of a horrible and cowardly act.

But in Bollywood especially in the 70’s and 80’s it was actually considered as necessary as an item number.

The movie pitch went something like this ‘Sirji, Introduction of hero on a dark night, he saves the heroine from being raped and beats up 10 goons,  3 romantic songs, 1 religious song, 1 sad song and 1 item number, 4 action scenes, and Sir beat this our film will have not 1! Not 2! But 3 rape scenes!’

Why did we need those scenes?

Two reasons in my opinion. Firstly in those days the skin code was unimaginable, so only the vamp or the victim could show skin, even the heroine had to be shown as a bitch in a swimsuit before she was reformed by the man into a salwar or sari clad socially acceptable ‘bhartiya nari’.

Secondly, all action films followed a simple formula almost as if it was a game called Screw-the-hero!

So the villains would start by raping the bhabi and killing her husband, and putting the hero behind bars for the crime. In his absence his sister would be raped as well and his parents killed. The wife would be saved for the second act whereupon his release he would get one more romantic song with her before she too was raped and killed and then the hero would be tortured till the vamp let him out and he would take on the entire crew of villains beating them up as he would make each punch count.

‘Yeh meri abla bhabhi ke liye’ DISHOOM ‘Yeh mere bhai ke liye’ DISHOOM ‘Yeh meri behen ke liye’ DISHOOM ‘yeh mere bhoode maa-baap ke liye’ DISHOOM ‘yeh meri biwi aur uske pet ke andar panap rahe bacche ke liye’ DISHOOM! And then came the final blow ‘aur yeh insaniyat ke dushman tujhe jeene ka koi haq nahin….yeh….mere liye’ DISHOOM

But as the filmmakers tried and found new ways to create those item rape scenes, they actually invented a new form of comedy.

Truly! You would exclaim, how can such a disgusting act be made funny!

I will show you how today.

But before that I have to share certain statistics a fellow Bollywood fan and amateur statistician had put up on the net. I call it the Bollywood Villains Rape-o-Meter.

Top lining the gang of Rapists is

Rapist No. 1 – Prem Chopra with 250 rapes in his career….to quote the man the legend ‘Mera naam hai Prem….Prem Chopra’

Rapist No. 2 – Ranjeet with 150 rapes comes close. This man ruled the rape scene from 1970-1985

Rapist No. 3 – Danny Denzongpa has 110+ rape scenes to his credit. The reason why these guys also make it to the top is because in the 70’s and 80’s even the villains would be multi-starrers, so the above three or some combinations would indulge in group rapes so that they all could be killed in 10 minute intervals in the second half.

Rapist No. 4 – Shakti Kapoor with over 80 rapes to his credit

Rapist No. 5 – Amjad Khan with over 30+ rapes to his screen credit, in 1981 every film he acted in had a rape scene.

Rapist No. 6 – The original Bad Man of Hindi cinema – Gulshan Grover, with over 22+ rape scenes to his credit.

The others in this infamous list include The Lion – Ajit (12), Amrish Puri (9), Premnath (3), Rehman (7), Om Puri (6), the awesome Jeevan (6), Ruppesh Kumar never got a solo rape scene but only participated in a group (5), Kiran Kumar (4), K N Singh (3), Madan Puri (2) and finally Mac Mohan (1).

Presenting to you today are the funniest rape scenes from Bollywood. Let me prepare you for the climatic one. It is from Manoj Kumar’s cult movie Clerk!

To kick things off we have Ranjeet enacting the famous Bollywood group rape scene with quotable gems being spouted by them

On the subject of rapes, it is a very interesting fact to note that the ethereal Poonam Dhillon left the industry after her career got into this cycle of being raped in every second film. This scene is Bollywood creators favourite setting! A dark night, stock shots of lightning and rain and the rapists laughing like hyenas

Ever wanted to see how a date rape could kill you?…laughing I mean? Gullubhai will show you how it’s done in this howlarious sequence

While we are on the subject of Gulshan Grover, this one has him playing the flute to Divya Bharti, in a getup that screams I am gonna rape you, but still the lamb-like Bharti gets in the vanity van.

One of my all time favourites with Shakti Kapoor and Anita Raaj. Did you know that she ended her career by being raped by Shakti Kapoor in 6 films in a row! This one has her tried to a fake wall actually asking ‘What are you doing?’

I know I promised you the most funny rape scene ever! Well this one is from Manoj Kumar’s Clerk, where the 100 year old Bharat Kumar plays a college student! He also manages to do the impossible – make Rekha look like a skunk – I do mean a skunk not a skank!!! If you don’t believe me check out that hideous wig or head gear long with the make-up. But coming back to the matter at hand…it has Omshiv Puri raping….once again Anita Raaj. One piece of advise, when you hear these six words again…RUN….’Sweety, Sweety, Sweety..Baby, Baby, Baby’

WTF : Same reviewer and two different ratings for Housefull 2

Posted: April 7, 2012 by moifightclub in bollywood, film, film review, movie reviews, reviews, WTF
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Times of India’s film critic Srijana Mitra Das has given 4 stars to Sajid Khan’s Housefull2. Who is this enlightened soul? Someone please introduce us to him/her. Seems like a bong. And a bong with such unique taste in cinema must belong to some rare tribe. Anyway, if the 4 stars weren’t baffling eough, there’s more to the story. Take a look at this pic.

This is the Bangalore edition of TOI. Have taken a screengrab of the review page. Reviewer is the same Srijana Mitra Das and rating is 4 stars. Now take a look at this next pic.

This screengrab is from the Chennai edition of TOI. Again, reviewer is the same Srijana Mitra Das. But the rating is 2.5 stars. Who ate up my 1.5 stars?

Same film, same reviewer, same newspaper but two editions and two different ratings.

WTF!

Who writes the reviews? Who gives the ratings? Does Srijan Mitra Das really exist?

CAN SOMEONE PLEASE EXPLAIN THIS TO US?

Tip – Yashpal Singh/Dhanya Rajendran

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