Top 10 Indian films of 2014- by Ram Anand

Haider betters even Maqbool and Omkara as it is a movie in which Vishal expresses his whole range as an auteur and not just a filmmaker. 2014 was filled with some really good movies, but none better than this.

1. HAIDER (Hindi)

Director: Vishal Bharadwaj

Music: Vishal Bharadwaj

Cast: Shahid Kapoor, Tabu, Kay Kay Menon, Shradda Kapoor, Irrfan Khan.

A Shakespearean adaptation of epic proportions. Vishal, who so successfully adapted Macbeth and Othello into rough Indian terrains in the backdrop of local conflicts to make two classic movies in the past decade, returns with his third adaptation of a Shakespeare work, in Hamlet.


Haider is set in Kashmir in 1995, at the height of the insurgency among the Indian army and the pro-independence and separatists movement. People are captured by the army, and taken away without a trace, and Haider (Shahid Kapoor) suffers a similar fate as his father is taken away by the army for giving shelter to a rebel leader.

As Haider searches low and high for his missing father, he is disturbed by the courtship between his uncle Khurram (Kay Kay Menon) and his half-widowed mother Ghazala (Tabu). When he is told that Khurram is the one who betrayed his father, Haider pledges revenge, an intention that would set a cycle of constant destruction in the lives of everyone involved in Haider’s life.

Never before has the bloodshed and the destruction of revenge been brought out in such an emotional, haunting manner. Vishal proves once again that he is a filmmaker of a generation as he plays around with semantics to pay ode to the original Hamlet, and also how he kept Roohdar (Irrfan Khan)’s character mysterious throughout the movie (as in Hamlet, Hamlet is told by a spirit (Roh) that his father was killed by his own uncle).

The scene before the gory final act when three old men dig their graves with a haunting rendition of “Aao Na” indicating how tired they are of life explains Haider’s state of mind brilliantly.

Haider betters even Maqbool and Omkara as it is a movie in which Vishal expresses his whole range as an auteur and not just a filmmaker. 2014 was filled with some really good movies, but none better than this.


Director: Karthik Subburaj

Music: Santosh Narayanan

Cast: Siddharth, Bobby Simha, Lakshmi Menon, Vijay Sethupath

Jigarthanda is probably the coolest gangster movie you would see in 2014. But the movie is not only about gangsters- it is also about filmmakers, filmmaking, and the challenges that comes in making films. In only his second directorial venture (after the hugely impressive low budget horror movie Pizza), Karthik returns to helm Jigarthanda with such finesse that leaves you spellbound for a couple of hours.

Karthik (Siddhartha) is an aspiring filmmaker who has been told by his producer to make a film on gangsters. He decides that his subject of research would be Assault Sethu (Bobby Simha) regarded as the most dangerous man in Madurai.

He first observes the gang from far, but not having enough information means that he tries to reach the gang through a mole. When his cover is blown, all hell breaks loose as Karthik is now forced to make the movie using Sethu himself as the hero.

At times, the movie borders on slapstick comedy, but never without potraying the hardship of a filmmaker and also contrasting it with the growth of a local gangster.

Simha’s performance is easily the best performance of the year, while Siddharth carries his part ably. Santosh Narayanan’s music is also brilliant.

3. PK (Hindi)

Director: Rajkumar Hirani

Music: Shantanu Moitra

Cast: Aamir Khan, Anushka Sharma, Sushant Singh Rajput, Boman Irani, Saurabh Shula

I probably didn’t laugh and thoroughly enjoy a movie as much as this one this year. The only reason PK in this list is because of Vishal and Karthik’s filmmaking geniuses which left me spellbound, beyond merely impressed.

PK came with huge expectations, and fulfilled every one of them and even took it to the next level. Rajkumar Hirani and Aamir teamed up to deliver a movie that was even more thought-provoking, and even funnier, than the timeless 3 Idiots, and this too will go down as a movie of a generation.

Amir was simply wonderful as the alien PK, carrying the entire film on his shoulders. While 3 Idiots was laced with many supporting actors sharing equal weight and even lending to comic timing, 3 Idiots was almost entirely about Aamir’s whole range of bravura. The details that went into his performance means that this easily could be the best performance of his career.

PK chronicles the story of PK (Aamir), an alien stuck on earth, who is told that God will help him retrieve the amulet that he had lost- an amulet that would allow him to return to his planet. His whole range of search for God, and discovering the many religions and cultures in India made this movie an exceptional parody and satire of God and Godmen.

Rajukumar Hirani never fails to deliver a heart-warming story in the most entertaining way possible- and after Munnabhai MBBS, Lage Raho Munnabhai, and 3 Idiots, he replicates the magic again here. This was well worth waiting until the end of the year.

4. QUEEN (Hindi)

Director: Vikas Bahl

Music: Amit Trivedi

Cast: Kangana Ranaut, Rajkummar Rao, Lisa Haydon

No movie in 2014 would have probably put a smile on your face as big as the charming, effervescent, lovely Queen had done. Directed by Vikas Bahl, Queen tells the story of Rani Mehra (Kangana Ranaut), who is dumped by her fiancee on the eve of their wedding day.

Heartbroken and yet clueless, the village Punjabi lass decides to travel to Paris and Amsterdam, her pre-determined honeymoon spots, on her own, without a partner. The movie becomes a journey of self discovery and she makes friends with a whole array of different individuals and becomes accepting of different cultures and grows her own confidence in herself.

Queen was poignantly made, carved out beautifully, and brought to the screen with an exceptional performance by Kangana, who charmed her way into our hearts. The movie had plenty of heart, and plenty of love to offer.

Amit Trivedi’s music was soothing and constantly uplifting, in tune with the mood of the whole movie. Unlike many other Bollywood flicks, Queen actually gets its foreign casting right. Instead of forcing European actors to mouth Hindi dialogues awkwardly, Queen had European characters being completely themselves and contrasting themselves with Rani’s Punjabi jokes and traditions.

5. HIGHWAY (Hindi)

Director: Imtiaz Ali

Music: AR Rahman

Cast: Alia Bhatt, Randeep Hooda.

Highway was heavy, emotional yet absolutely poignant. It portrays the unlikely love bond between a kidnapped rich girl (Alia) and her kidnapper (Randeep). The contrast in their characters is huge, but the way the screenplay was woven to make get gradually drawn closer to each other, and how they found solace in each other from their tormented daily lives.

The musical journey that came with it- in the form of AR Rahman’s most soulful music in recent times, was a magical experience, just like Imtiaz-AR’s previous combo Rockstar.

Alia Bhatt’s performance was easily the best performance by a female actor this year. It was majestic, and Randeep matched her all the way towards the end.

6. MARDAANI (Hindi)

Director: Pradeep Sarkar

Music: Salim-Sulaiman

Cast: Rani Mukherji, Tahir Raj Basin

Rani Mukerji’s performance alone is worth putting Mardaani in this list. The film hardly had any other stars and she carried the weight of the film entirely to ensure it was traveling at a breakneck speed.

The film chronicles a female cop’s foray into the word of child trafficking after a slum kid whom she was guarding goes missing from her home, apparently being abducted by a rigorous child trafficking ring in the city- which pits her against a heartless young man at the centre of it all.

With no help offered by her superiors due to jurisdiction problems, she goes out of her way, at times jeopardising her own husband’s medical practice and her children’s safety, to nab the kidnapper.

Rani was to Mardaani what Liam Neeson was to Taken, and she simply marvelled with her performance.


Director: Homi Adajania

Music: Sachin-Jigar

Cast: Deepika Padukone, Naseruddin Shah, Dimple Kapadia, Arjun Kapoor, Pankaj Kapur

It is difficult to describe how important of a film Homi Adajania’s Finding Fanny was this year. The movie had a stunning star cast- Dimple Kapadia, Pankaj Kapur, Arjun Kapoor, Deepika Padukone, and Naseruddin Shah. But these five characters are not in a thriller. Instead, they are together here in a slowly-paced road movie, set in a remote village in Goa.

Everything about Finding Fanny screamed of the touches of an independent filmmaker, and movies like this are often done in India using a lesser known star cast. But Fanny stands out as five able actors, especially the three veteran ones, provide us with performances of epic proportions to move a still story along until the very end.

For me, Fanny was probably our own Little Miss Sunshine, a movie about dysfunctional people on a journey together and how they try to adjust to each other, in an effort to find Fanny, the long-lost lover of Naseruddin’s character.

Deepika proves in this movie that she can stand tall beside her more celebrated co-stars, and has the makings of a long career herself with her acting skills. Arjun holds his own too in such luminous company, though his character is not given much to impress aside from being grumpy half of the time. Finding Fanny would be a defining movie for Bollywood for years to come. And the fact that so many stars came together to star in a production that they knew was not going to mint money was heartening.


Director: Abhishek Chaubey

Music: Vishal Bharadwaj

Cast: Arshad Warsi, Naseruddin Shah, Huma Qureshi, Madhuri Dixit

The rampaging duo of Naseruddin Shah and Arshad Warsi return to play foolish thieves who get conned by a femme fatale for the second time running in Dedh Ishqiya. Vishal Bharadwaj has been one of the best filmmakers of our generation and his touches are just prominent throughout the movie, from the first scene till the last.

Abhishek Chaubey, the director, executes it to the gallery of hallmark Vishal-thrillers, and to replace the voloptous Vidya Balan, Madhuri Dixit plays the femme fatale, that of a Begum, to a tilt. The presence of Hema Qureshi adds another dimension to the characters.

This dark comedy was worth the time and money invested in it, once you manage to wait it out for the final moments of madness where everything comes to a head, and the two heroes end up paying the price for crimes that they had unwittingly participated for the sake of a woman.


Director: Balaji Mohan

Music: Santosh Narayanan

Cast: Dulquer Salman, Nazriya Nazim, Pandiarajan, Madhoo

This film saw the return of director Balaji, who shot to fame with the 2012 romantic comedy Kadhalil Sodhapavadhu Yeppadi, was pleasant, unique and presented a potpourri of characters that are normally not available in regular Tamil movies.

The various layers of human relationships are brought out beautifully by Balaji with this story about a whole town that is rendered mute due to a disease spreading among its residents. When people resort to gestures to communicate only important things, they find the value of words again.

The film is paced well- at a pedestrian pace as we grow with the characters, with doses of humour generously sprinkled in some parts. The whole setting and the mood of the movie makes you feel good, and it is an amazing feat that Balaji managed to pull off a plot featuring so many characters without a single dialogue for the entirety of the second half.

Dulquer Salman and Nazriya Nazim were both pleasant, but it is the performances of character artistes such as Madhoo which adds flavour to the performances in this film.

This film is all about Balaji’s filmmaking techniques, and despite some flaws that can be attributed to his age, Vaayai Moodi Pesavum was one of the best, most pleasant, yet meaningful efforts at filmmaking in 2014.


Director: Velraj

Music: Anirudh Ravichander

Cast: Dhanush, Amala Paul, Saranya Ponvannan, Samuthirakani

In my years compiling top ten lists for movies in a calendar year, I probably had never listed a movie regarded as a commercial potboiler in my top 10 list. This year, I’m breaking the convention with this movie, which was known popularly as D25 (Dhanush’s 25th film) or VIP, in abbreviation.

Everything about VIP’s story was not out of the ordinary. Dhanush plays a jobless youth, with a nagging father and loving mother, and a more successful brother to boot. He gets a job, but with it comes a villain who is determined to halt his plans with all his might. The story is the template you’d follow for a commercial movie, but what makes it stand out, however, is the sheer energy of Dhanush’s performances and also the brilliant, relentless screenplay by debutant director Velraj.

I make no apologies for considering D25 as a thoroughly entertaining movie, because it was exactly that. Dhanush’s energy is above par than his usual fares, presenting plenty of emotions, style, and guile that went hand in hand with a youthful, absorbing musical composition by Anirudh Ravichander, Dhanush’s favourite musical ally nowadays.

Both Samuthirakani and Saranya Ponnvanan were exceptional in their role as parents, and brought another layer of emotion to the story instead of appearing like the regular pedestrian “parents” depicted in most Tamil movies.

My biggest disappointment is the fact that Vasanthabalan’s Kaaviyathalaivan did not make it my top 10 list, despite my initial expectations that it would be here. A lack of execution for KT means that VIP stays in this list- probably a travesty for someone like me who loves cinema that is different from the regular commercial fare.

But when something’s good, you have to give due credit.


AR Rahman’s 10 best soundtracks- a compilation by Ram Anand (Part 1)

The list is not about the most popular song, or hits, or most successful movie. This is from a purely musical point of view relating to how well the music worked with, or elevated, the film itself, and further inspired the filmmaking process.

Following my high regards for AR Rahman’s latest film album Kaaviyathalaivan, I have decided to finally act on my long-pending intentions to compile a list of AR Rahman’s 10 best albums, in my view of course.

This list is not inundated with album from the 90s, like how people believe his best work from from his first decade as a composer. If anything, this list is a testament that he has grown and matured as a composer in tune with changing times, always staying ahead of the competition.

The list is not about the most popular song, or hits, or most successful movie. This is from a purely musical point of view relating to how well the music worked with, or elevated, the film itself, and further inspired the filmmaking process. This is a carefully put together list, I had to omit plenty of albums which I personally enjoyed- trying to pick on everything from a critical point of view.

Number ten:

Kaaviyathalaivan (2014)

AR Rahman’s first collaboration with director Vasanthabalan, known for his raw, earthly Tamil films was quite a feast to the ears. Vasanthabalan was among the first batch of filmmakers to work with ARR’s nephew GV Prakash through Veyyil several years ago, and it signals, somewhat, a full circle for the director to work with ARR.

A period film set in the 1940s, the film starts Siddharth and Prithviraj among others. ARR said publicly that he had turned down a Hollywood film offer in order to work on KT, and it is easy to understand why. Kaaviyathalaivan provides any composer with that rare opportunity to revisit the era of Vishwanathan-Ramamurthy while retaining their own stamp. There is no better candidate to pull this off than the Academy Award winner, and he had served delectable mix of jazz, and several carnatic ragas with heightened sound that will grow on any listener.

The album has seven songs, the pick obviously being the effervescently melodious Yaarumillai, a minimal, slow-paced love song that can tug at your hearts, and also the highly energising Sandhi Kuthirai, which seems to be a homage to the quasi-jazz numbers of the Vishwanathan-Ramamurthy days.

The 10-minute ballad Alli Arjuna, which comprises of eight short bits performed immaculately by Haricharan and Bela Shende, is where ARR flexes his musical muscles, marrying off eight varying tunes into one ballad that both tells a story and yet manages to maintain the listener’s attention till the end. No mean feat.

Aye Mr Minor brought with it another slow jazz touch last seen in ARR’s other album Iruvar, while Sollividu Sollividu offered its own uniqueness with the highly moving Karnamootcham bit towards the end of the song.

Vaanga Maaka Vaanga is a pleasant hear to welcome listeners to the drama troupe on which the story in centred, while Thirrupugazh sees a rare combination of Vani Jayaram and ARR for a short, pleasant devotional number.

There is no verdict on the yet to released film, but ARR’s music has already increased expectations and will definitely complement the filmmaking process. It is understandable how much effort has been put into this, it shows, and it deserves a place in this list.

Number nine-

Taalam/Taal (1999)

In living memory, there is no film that relied as heavily on ARR’s musical magic as Taal, so much so even the Tamil version of the film, Taalam, found takers despite only being a dubbed work. The music was wondrous across both platforms, encompassing a total of 14 tracks, most of it pictured on then increasingly popular former Miss World Aishwarya Rai. A trilingual love saga in the backdrop of some gorgeous locations, ARR’s music was embedded in every area of the film that centred around a classical dance performer.

Nahin Samne is a personal favourite, especially through its Tamil version, Kaalaimaane. The haunting start to the music followed by the grandeur of orchestra, and Hariharan’s pitching voice is inimitable in so many ways. There is also the absolutely fabulous Beat of Passion, a small dance number sans vocals, in which ARR combines the most innocuous sounds such as water drops and steel plates crashing on each other.

There are also other classic numbers such as Ishq Bina, Taal se Taal, Ramta Jogi, another instrumental number Raaga Dance, Kahin Aag Lahe, and a western version of Taal Se Taal. You are just spoilt for choices here.

This film marked a successful collaboration between ARR and Subash Ghai, which regrettably ended with ARR giving another fabulous musical album for the film Yuvvraaj, which Subash proceeded to botch, clobber, and ruin with an epically bad movie. Yuvvraaj’s music is almost as good as Taal, but still the latter takes the cake and is here on this list.

Number eight-

Highway (2014)

Imtiaz Ali has surely established himself as a filmmaker who knows how to extract the best out of AR Rahman, and Highway is a fine example. A sumptuous album that fits the theme of this being a road movie, and also about a young woman’s inadvertent soul searching while in captivity.

The album has nine tracks, and each one stands out brilliantly on its own. The two versions of Pattakha Guddi, a variant of Punjabi folk music, were music to die for. The Nooran sisters were brilliant with the female version, which was catchy and high on spirit, but the male version, sung by none other but ARR himself, take the mix to another higher level, with a mix of rock, tabla, and folk music. The male version contains more soul and gutso, and is a bold attempt that has come out fantastically well. I dare to say, it sits right up among ARR’s best compositions in an illustrious two-decade career.

Kahaan Hoon Main and Heera are sweet to the ears, slow, but endearing. They capture the essence of the character’s struggle, and sung with such sweetness in the voices of Shweta Pandit and Jonita Gandhi.

Sooha Saha is a lullaby that will grow on you, especially when you watch it with the movie. Tu Kuja is another huge favourite, sung with such soul searching energy, accompanied with classical instruments, by Sunidhi Chauhan.

Maahi Ve, of course, is ARR’s trademark love number that encapsulates the entire movie. A brilliant album for a brilliant movie.

Number seven-

Kandukondein Kandukondein (2000)

Rajiv Menon’s 2000 musical film, which also featured Aishwarya Rai, was an adaptation of Sense and Sensibility. It is an iconic romantic movie for people of my generation, more so because of how well we identify and were taken by the authenticity and the class of AR Rahman’s eight tracks.

Enna Solla Pogirai remains a classic to date, a high energy yearning portrayed by Shankar Mahadevan for a man who is pleading for his love. Smayiyai is another number that is high on energy, with a slightly modern treatment, that would make you tap your feet.

Then there are two sumptuous classical music offerings, Kanamoochi Yennada, which is probably among the best bit of Carnatic music you will hear in modern films, and also Konjum Mainakkale, which has some effervescent energy in it.

Yenge Ennathu Kavithai is a brilliant composition that captures the heartbroken state of a woman who had been deceived by her man, sung with such conviction and realism by the legendary Chitra.

Suttum Vizhi Chuddar is a short-lived all time favourite in which Hariharan, in a short span, imaginatively captures a Bharathiyar poem and gives it a romantic pang that is almost unmatched.

This is a musical that truly had a mix of everything, all topped off with the tittle song, Kandukondein Kandukondein, a duet featuring Hariharan and Mahalakshmi Iyer, a duet featuring some great signing and even greater composition.

Number six-

Delhi 6 (2009)

Many might have missed this, because the movie failed to create ripples at the box office. But for those who have taken the effort to listen, D-6 is among ARR’s best musical work.


The reason? Masakali!

A pretty stunning, unique, energising number sung by Mohit Chauhan remains D-6’s greatest identity. The entire song references to a dove’s flying spirit, and ARR does a brilliant job of employing unorthodox sounds to weave together a catchy, tongue twisting song that has stayed on memories for years.

But beyond Masakali, D-6 is also home to one of the best sufi/spiritual compositions of all time, a song that has lifted my own spirits umpteen times- Arziyan.

A seven-minute long epic that can send you into a special zone with the right environment, Arziyan is soulfully rendered by Javed Ali and Kailash Kher, two unmistakably good singers. The song sings of God as someone who already knows our wishes, and to whom we need not make special requests.

Rehna Tu is a brilliant, slow number sung by AR Rahman, that encapsulates a man’s undying love for his hometown, Delhi, despite its imperfections.

Dilli 6 and Kaala Bandar were more hip, modern numbers to suit the main character who was an American who had just reached Delhi, but Gehnda Phool classically marries off these two cultures by combining hip hop and classical. A two-minute bit that is thoroughly enjoyable and showcases AR Rahman’s genius.

Dil Gira Gaaftan is a slow romantic number along the lines of Rakeysh Omprakash Mehra’s previous combination with ARR, Rang de Basanti, which had the song Tu Bin Bataye.

Thumre Bhaavan Me is a melodious and soul stirring Hindu devotional number that is equally rich in musical content. D-6 is probably one of the most underrated albums in ARR’s career.


Highway (2014)- Movie Review by Ram Anand

It is not often that a movie moves me into tears. Imitiaz Ali’s Highway had that effect on me, though I am not one to promise you a tearjerker that would equally move everyone.


Imagine that sweet bonding that immaculately develops over a road trip in Jab We Met, Imtiaz’s directorial debut. And now combine that with the ephemeral darkness and greyness of the love portrayed in Rockstar, the movie in which Imtiaz changed his stripes from being just another commercial filmmaker on the block- and you will get Highway.

Highway is one of the rare movies which portrays a love story that you know beforehand has no chance of ending well, yet if you allow yourself to be soaked by its emotions, you will realise Highway its not just about the improbable “love” that two very probable people share, it is also about character development- it tells a story of poverty, abuse, sexual crimes, murder, and guilt all rolled into one.

Mahabhir Pathi (Randeep Hooda) and Veera Tripathi (Alia Bhatt) are two people who probably would have never met each other, if not for a fateful night when the latter, a billionaire’s daughter, decides to soak in some fresh air out of her controlled lifestyle, and is indadvertedly kidnapped by the former who is has just robbed a gas station and is taking her hostage.

Financially, Veera has everything Mahabhir will never have- that is the gulf in their class. Mahabhir is crass in his handling and language, Veera is soft spoken, apologises, and seeks to make more friends than enemies.

Yet, as the story unfolds, Imtiaz tells us a tale of unique human connections- what makes us all the same. Beneath the facade of gulf between a criminal and a rich man’s daughter, they find nothing but solace in each other.

As they confide in each other, their haunted childhoods comes back to the fore, and they are now confronting demons they had stashed away for years. Veera is finally able to talk about her childhood while developing a Stockholm syndrome in running back into the hands of Mahabhir, even when she had the chance to run away.

Mahabhir, slowly, sees his estranged mother’s love and affection in Veera’s innocent love, and this consumes him over time, and he lets himself go to drown in Veera’s love.

Randeep Hooda lives under the skin of Mahabhir Bhati, and adds a layer of depth that only great actors can bring to what are already great characters on the paper. His transformation from a crass, single minded criminal to being a man who’s cautiously falling in love is compelling- even bettering Ranbir Kapoor’s tortured soul in Rockstar, which, at times, was heavily dramatised.

Alia Bhatt, well, what can I say. I thought she was overrated after her debut Student of the Year, but there are little doubts as to why she is the most talented upcoming actress in Bollywood. No one in the many grades and classes of actresses above her could pull off a performance such as this. Her grief, her joy, her past, and her own surprise at her attitude towards the kidnappers, was all brought to live in a two-hour marvel of a performance.

This is not a debutant actress at work, ladies and gentleman. This is the making a great actor, a great talent, one who if nurtured well can become  a legend in the film industry.

AR Rahman’s music, on the other hand, is a timeless musical score. Patakha Guddi carries the essence of the narration on its shoulders (and its delightful because it is the best composition that will ever be made this year), while songs such as Tu Kuja (shot in a desert with shimmering stars), and Kahaan Hoon Main carry so much subtlety in them that they move the narration without disrupting it.

Sooha Saha sounds way better on screen that it sounded on audio, combined with Mahabhir’s affection for his mother and his guilt- this songs packs an emotion no other song packs in this movie.

If in Rockstar the songs were musical performances, the songs in Highway were blended with the narration seamlessly, almost making it a musical road movie.

Many would argue that Imtiaz’s Jab We Met was more entertaining, but we need to appreciate the fact that Imtiaz had long changed his skins. Rockstar was a reincarnation for the director, and he had moved from the terrains of making feel-good love stories, to making love stories that asks more questions and demands a bit more in terms of consequences and life.

Rockstar was peripherally dark and sad, Highway, though at parts carrying the energy that Jab We Met had, is neither a “sad” or a “happy” movie. There is no labels to be given. Yes, it is a love story, but it is a matured, measured love story.

In this respect, Imtiaz Ali had undone himself, going one further than his previous works. And as an aspiring filmmaker, I need to congratulate him for envisioning his creative license and executing it without compromises.

The gist of Highway has always been in the film’s trailer, with Veera Tripathi’s dialogue:

“Where you took me from, I don’t want to go back there. Where you are bringing me to, I don’t want to get there. But this journey, I like this journey. I want this journey to never end”.

That’s Highway. It’s not about the starting or the ending of the movie, it’s about the journey and the bonding that happens in that two hours.

If you can enjoy that, less assured, you will come out of this experience and say- “this is a fucking masterpiece!”

And yes, I said that. Films like Highway cannot just be made- they click just nicely only once in a while. Instead of restricting yourselves to define what is entertainment, you can allow Highway to surprise you.

Rating: 10/10