Directed and written by: Anurag Kashyap
Starring: Nawazuddin Siddiqui, Vicky Kaushal
Amidst the furore and hype over Udta Punjab, Raman Raghav 2.0 almost made a quiet entry into the theatre screens (one wonders if Phantom Films could have deferred this release instead of having 2 of their productions in consecutive weeks). Its subject matter though, is anything but quiet. Putting the incident that was Bombay Velvet behind him, Anurag Kashyap returns to doing what he prefers, making raw, violent films that explore the dark side of human nature, all presented in an uncompromising yet stylish manner.Continue reading “Raman Raghav 2.0 Movie Review: Madness Meets Mayhem, Meh!”
It isn’t easy, making a movie about a serial killer. The maker has to walk the fine line between judgment and deification, whilst refraining from the cheap thrill of titillating the audience with the graphic details. However, serial killers do make for a fascinating subject, no matter how many movies have been made in the past on them, because it is always interesting to get a glimpse into the psyche of somebody who kills without remorse, without any compunction and without any emotion. Raman Raghav was one of India’s most vicious and deranged serial killers. Therefore when a filmmaker like Anurag Kashyap decides to make a movie about a serial killer inspired to kill by the tale of Raman Raghav, and casts Nawazuddin Siddiqui in the part, it is safe to say that the audience is in for something deeply dark and disturbing. But does the final product ultimately deliver on the promise?
Shah Rukh Khan – The name itself spells a big film, if not a good film. Over the years, many have complained arduously about Khan’s lack of efforts in picking scripts and films, and intermittently succumbing to rehashed concoctions or sub par servings, packaged, garnished and decorated well enough to be shoved down your throat via extensive marketing. Some of this marketing has made people averse to watching his films or similar star vehicles, while others continue to feed on them raking in the numbers. But things changed with Dilwale, in December 2015. When 
We live in a country, where cinema isn’t treated as just another form of art, but as a form of sustenance. The common man sees a film as a means of escape from what he may consider a dreary life, packed with problems and tensions, and for a couple of hours, he’d like to forget it. Adding to that, most Indian movies are larger than life, and nothing ends up larger than the performances of our leading men.
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