Arré

Arré is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer when written by the following Tomatometer-approved critic(s): Poulomi Das
Rating Title/Year Author
Thappad (2020) Poulomi Das Thappad's exaggerated screenplay isn't equipped to distill any new insight on the Indian mentality toward displays of male force, taking refuge instead in existing tropes. EDIT
Posted Feb 28, 2020
Shubh Mangal Zyada Saavdhan (2020) Poulomi Das Shubh Mangal Zyada Savdhaan compellingly charts the distance that love has traversed in the last two decades. All it asks is that Indian families keep up. EDIT
Posted Feb 21, 2020
Bhoot: Part One: The Haunted Ship (2020) Poulomi Das For a film that brings nothing new to the genre, Bhoot's reveal isn't even that hard to guess, given the film's steadfast refusal to take any leap of faith. There's very little point to watching Bhoot. EDIT
Posted Feb 21, 2020
Love Aaj Kal (2009) Poulomi Das To be fair, I'm still not entirely sure whether Zoe is the worst character written or if she is actually played by the worst actor possible, given that Love Aaj Kal's insipidness is singlehandedly worsened by Sara Ali Khan's grating over-emoting. EDIT
Posted Feb 14, 2020
Shikara: A Love Letter From Kashmir (2019) Poulomi Das The timing of the film sticks out undeniably like a sore thumb, given that Shikara doesn't situate itself in any context - the lone scribble and chant of "Azaadi" sounds like any other word. EDIT
Posted Feb 7, 2020
Parasite (2019) Poulomi Das It's a gripping, existential, horrifying study of a nightmarish world - except that it is true. EDIT
Posted Jan 31, 2020
Jojo Rabbit (2019) Poulomi Das By making us stare right at a system that enables fascism right from birth, through the deception of comedy, Waititi crafts an ingenious call to action against it that is as timely as it is enjoyable. EDIT
Posted Jan 29, 2020
Street Dancer 3 (2020) Poulomi Das All of this overreaching to make a political statement in a film that can't even make a dance statement would have been admirable if the writers had even read one political science book. EDIT
Posted Jan 24, 2020
Panga (2020) Poulomi Das Panga works better as an ode to the self-sufficiency of the sisterhood. EDIT
Posted Jan 24, 2020
1917 (2019) Poulomi Das It acquires an even greater meaning in light of the post-credit slate that reveals that the film is based loosely on stories of the director's grandfather's time in the war. A tribute to a life is one hell of an emotional anchor. EDIT
Posted Jan 21, 2020
A Beautiful Day in the Neighborhood (2019) Poulomi Das A Beautiful Day in the Neighbourhood goes in unbelievable directions that sparkle with inventiveness. EDIT
Posted Jan 17, 2020
Uyare (2019) Poulomi Das By placing its protagonist in a profession that requires her to be seen, Uyare drives home this crucial point: It's impossible for a survivor to accept themselves if the world around them continues to run away from them. EDIT
Posted Jan 15, 2020
Tanhaji: The Unsung Warrior (2020) Poulomi Das Despite the broad strokes that it adopts, Tanhaji is surprisingly fun in the same way as watching your drunk friend make a fool of himself: You enjoy the mess despite yourself. EDIT
Posted Jan 10, 2020
Chhapaak (2020) Poulomi Das Chhapaak earns its flourishes through Gulzar's compassionate gaze, that guarantees that the film doesn't pity Malti or work overtime in demanding sympathy for her. EDIT
Posted Jan 9, 2020
Ghost Stories (2020) Poulomi Das Banerjee manages to hint at the internet shutdown in Kashmir, mob lynchings, and the steady erasure of minorities to pave the way for a Hindu Rashtra under one hour is unquestionably commendable. EDIT
Posted Jan 3, 2020
Good Newwz (2019) Poulomi Das The charms are few and far in between and for the most part, the movie just ends up stretching a one-line joke for far too long. EDIT
Posted Dec 27, 2019
Dabangg 3 (2019) Poulomi Das The first few minutes of Dabangg 3 do an incredibly dedicated job of lowering expectations, foreshadowing in a way, the unpardonable daftness that makes up the film's 162-minute runtime. EDIT
Posted Dec 23, 2019
Mardaani 2 (2019) Poulomi Das Mardaani 2 frequently mistakes revenge with punishment and justice with an unchecked display of power. In that sense, it is even more depolorable than boastful the tone-deafness of Rohit Shetty's Simmba. EDIT
Posted Dec 13, 2019
Rocket Singh: Salesman of the Year (2009) Poulomi Das Long before Hindi cinema made a template out of the middle-class, Rocket Singh... offered a distinctive snapshot of the challenges of middle-class employment EDIT
Posted Dec 12, 2019
Marriage Story (2019) Poulomi Das If Marriage Story succeeds in achieving a rare emotional transparency, it is in large part due to the breathlessly calibrated performances of its two leads. EDIT
Posted Dec 9, 2019
Pati Patni Aur Woh (2019) Poulomi Das The film's dull, repetitive theatrics are derived only from the director playing up stereotypes. EDIT
Posted Dec 9, 2019
Tiffany Haddish: Black Mitzvah (2019) Poulomi Das Black Mitzvah works as a flawless indictment of this selective amnesia: Tiffany Haddish begins her hour by setting out to justify her talent, but ends it by illustrating why she really doesn't need to keep proving her worth. EDIT
Posted Dec 4, 2019
Hotel Mumbai (2018) Poulomi Das The taut editing and the kinetic cinematography which is intercut with real-life footage guarantee that the film replicates the tensions of the attacks. But without any singular direction, it articulates nothing more. EDIT
Posted Dec 2, 2019
Bikram: Yogi, Guru, Predator (2019) Poulomi Das Bikram: Yogi, Guru, Predator is both an accusation and a reminder that we're repeating a pattern. EDIT
Posted Nov 22, 2019
Marjaavaan (2019) Poulomi Das Milap Zaveri's Marjaavaan is yet another pointless outing, based entirely on the idea of finding an excuse for two overgrown man-childs to glare at each other while threatening murder after every five minutes without actually doing anything. EDIT
Posted Nov 15, 2019
Ford v Ferrari (2019) Poulomi Das Much of the tenderness that Ford v Ferrari mines out of this precise portrait of emotional volatility is testament to how finely both the actors square off each other. EDIT
Posted Nov 15, 2019
Bala (2019) Poulomi Das Despite its glaring flaws, Amar Kaushik's Bala stands out for packaging its grand ideas in the language of small-town India. EDIT
Posted Nov 8, 2019
Drive (2018) Poulomi Das No scene or subplot in Drive has any reason to exist, but still, it continues to labour on. EDIT
Posted Nov 1, 2019
Saand Ki Aankh (2019) Poulomi Das On a closer look, these intermittent charms practically cease to exist without its two leads. Saand Ki Aankh's insistence to be painfully crowd-pleasing force Pednekar and Pannu to be perennially on the defensive. EDIT
Posted Oct 25, 2019
() Poulomi Das Perhaps the biggest evidence of its inefficiency lies in how Made in China carelessly undermines its actors. EDIT
Posted Oct 24, 2019
The Sky Is Pink (2019) Poulomi Das When the film's blatant lack of depth - it occasionally feels overstuffed and distracted - threatens to overpower its pleasures, it is redeemed by the effortlessness of the performances. EDIT
Posted Oct 11, 2019
Diego Maradona (2019) Poulomi Das Even though its frenetic, dizzying pace can sometimes feel like it is detrimental to its ambition, Diego Maradona... gets close to questioning whether the responsibility a football legend had... is worth the self-destruction. EDIT
Posted Oct 10, 2019
War (2019) Poulomi Das The film's charm is aided by the fact that both the actors share an electric chemistry and the action set-pieces thrill with their fluid choreography, and occasional ingenuity. EDIT
Posted Oct 2, 2019
The Lunchbox (2013) Poulomi Das It's a terrific metaphor for Mumbai. After all, the city like its inhabitants, is never satiated. EDIT
Posted Sep 24, 2019
The Zoya Factor (2019) Poulomi Das The Zoya Factor feels especially let down by Sharma's insistence to take refuge in crowd-pleasing spoofy filmmaking, which after a while gets too laboured, too on-the-nose, and too silly to even be entertaining. EDIT
Posted Sep 24, 2019
Dream Girl (2019) Poulomi Das Dream Girl never comes close to doing justice or even giving its own spin to any of these templates, ending up as a jumbled-up outing that says nothing in its greed to say a little bit of everything. EDIT
Posted Sep 13, 2019
Section 375 (2019) Poulomi Das Under the veneer of socially conscious filmmaking, Section 375 instead, reduces both, sexual assault and the Me Too movement into broad stereotypes EDIT
Posted Sep 13, 2019
Chhichhore (2019) Poulomi Das Nitesh Tiwari's Chhichhore is a pleasant entertainer elevated by the strength of its supporting cast. It's also an unabashed acknowledgement of male failure. EDIT
Posted Sep 6, 2019
Saaho (2019) Poulomi Das It's not like anyone was expecting or demanding Saaho to be intelligent. But the fact that the film isn't even tolerable, is indefensible. The least Saaho could have done is not thwarted its own potential. EDIT
Posted Aug 30, 2019
American Factory (2019) Poulomi Das American Factory gains from its decision to rely on the workers to voice the complexities of labour rights. EDIT
Posted Aug 26, 2019
Once Upon a Time... In Hollywood (2019) Poulomi Das Once Upon a Time in Hollywood can't help but become its ending, emanating a sense of incompleteness. But through it all, it remains deeply watchable and its craft, genuinely persuasive. EDIT
Posted Aug 16, 2019
Mission Mangal (2019) Poulomi Das The film's casual sidelining of its actresses stands out, given how it deceives the audience into believing in its feminism while simultaneously making jokes at the expense of its women. EDIT
Posted Aug 15, 2019
Jabariya Jodi (2019) Poulomi Das In 2019, there is really no reason that a film like Jabariya Jodi, that suggests forced marriage is a matter of joke, should exist or get backed by a mainstream production house. EDIT
Posted Aug 9, 2019
Hum Aapke Hain Koun! (1994) Poulomi Das It mixes comedy, tragedy, helplessness, and an impending feeling of doom to create an all-consuming investment in a cinematic death. EDIT
Posted Aug 6, 2019
Judgemental Hai Kya (2019) Poulomi Das The casting of Ranaut is nothing short of inspired. It's precisely why it's frustrating to see Judgementall Hai Kya be that film which ignores its engrossing roots in favour of meandering social messaging. EDIT
Posted Jul 26, 2019
Super 30 (2019) Poulomi Das The film's biggest failure is towards its subject: Bahl tells us even less about the genius mind of Anand Kumar, even though Roshan occupies almost every frame of Super 30. EDIT
Posted Jul 12, 2019
Lootera (2013) Poulomi Das It's a rare cinematic outing that exploits the camera and its frames to contextualize the intensity of its storytelling and the restraint of its lead performances, instead of it being the other way round. EDIT
Posted Jul 8, 2019
Gully Life: The Story of Divine (2019) Poulomi Das The uneven Gully Life is at its most enthralling when it allows the affable Fernandes to freely inject his carefree, grounded personality into its screen-time, without hurrying him up. EDIT
Posted Jul 2, 2019
Article 15 (2019) Poulomi Das Despite its flaws, it'd be remiss to not acknowledge the sheer pluckiness of Article 15. That a film doesn't barely tip-toe around caste and dives into its impenetrable hold over biases alone, justifies its necessity. EDIT
Posted Jun 28, 2019
Kabir Singh (2019) Poulomi Das A piece of irresponsible, offensive filmmaking that reveals just how harmful men can be to themselves and to the woman in their lives and still refuse to apologise for it. EDIT
Posted Jun 21, 2019