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‘The Company Men’ review: Life’s Highs and Layoffs

Reading Time: 3 minutes Debutante director John Wells, also writing and producing this human corporate experience, touches all the right emotions and upheavals in this downsized economy drama.

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‘Delhi Crime’ review: Never Gets Better

Reading Time: 5 minutes Writer-director Richie Mehta stalks the investigative team of Delhi’s blood-curdling crime and comes up with a harrowing but must-watch series. With a top-notch cast delivering solid performances, ‘Delhi Crime’ brings to fore the real-life struggle of police officers as they balance their personal hurdles and come to terms with a crime so heinous. And yet, the most disquieting moments come after the case is solved.

‘India’s Most Wanted’ review: Drama-less in Reel Life

Reading Time: 3 minutes Tracing down the real-life story of tracking down a deadly terrorist ought to have been a blood-pounding-through-the-veins affair. Director Raj Kumar Gupta, however, chooses to map this incredible story with an incredibly sanitized and staid approach, picking up pace only in the penultimate act.

‘Avengers: Endgame’ review: Loss and Spectacle

Reading Time: 4 minutes In the final instalment that closes down a sum total of 22 movies, directors Anthony Russo and Joe Russo assemble the ravaged lives of the Avengers to deliver a knock-out saga that’s high on spectacle and fan-service, but even higher on the interactions and emotional payload. Loss is immeasurable, be it for the superhero gang or its audience.

‘Kalank’ review: All Sparkle, No Spark

Reading Time: 5 minutes In this period set-piece opulence trumps content in every scene. As a result, director Abhishek Varman stuns you in a highlight sequence, creating a stunning mosaic with colors, dance, drone shots, choreographed dancers who rise from underwater with bows and lit arrows, the story of Dussehra narrated in contrasting plumages. Elsewhere, the actors look for inspiration and get mostly undercooked roles in a story that’s as predictable as the alphabet book. But predictability is the least of ‘Kalank”s problems. It’s in not using the potentially scintillating situations and actors, landing them, instead in an uninspiringly long-drawn tepid affair.

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