Author Archives: Sartaj Govind Singh

Steve Jobs is a fascinating and magnetic character study of the renowned American inventor and technological entrepreneur. It succeeds in crafting a structure that feels immediate and inherently dramatic. Screenwriter Aaron Sorkin conceives of each act as a build up … Continue reading →

The Dead Man’s Chest is a movie that can barely hold itself together. One slight cough and the film would come crashing down quite spectacularly. However, what makes it tolerable is in its surprising central virtue, which is a patently … Continue reading →

By its title alone, the twenty-fourth James Bond picture in the long-running film series announces its ambition. Primarily, Spectre is the name of the nefarious organisation that 007 encounters in many of his cinematic adventures. However, in the context of … Continue reading →

Planet Terror is an effortlessly nasty, sleazy and ultimately well-made exploitation film. However, what makes it transcend its source material is Robert Rodriguez’s excellent direction along with a screenplay, which is more than mere gruesome and shocking antics for midnight … Continue reading →

Pretentious visual showcase or a powerful illustration of the cinematic medium? These are just some of the disparate and contrasting opinions, which have been expressed about Stanley Kubrick’s 1968 film- 2001: A Space Odyssey. However, the most pertinent question, which … Continue reading →

Tangerine is a vibrant picture that in its every frame imbues creativity, and sheer humanism. Additionally, it is a striking example of new form giving rise to the one of the appeals of cinema, which is experiencing a unique time … Continue reading →

In my mind, Inglorious Bastards has always been Quentin Tarantino’s most polarising film. At best one can say it is a fascinating, controversial and wholly original portrait of a crucial period during the Second World War. At worst one can … Continue reading →

Quentin Tarantino’s 8th film, The Hateful Eight is a fascinating revisitation of his central thematic fixation, which fundamentally grows into a budding new form of expression for the black-humoured and highly cineliterate auteurist. Tarantino’s exploration and presentation of the self-appointed … Continue reading →