Paddington | 2014

“Paddington” reminded me of the family entertainers from the 80s and early 90s; Heartening, family friendly and full of tasteful clichés. This movie built on adored children’s character is compellingly unassuming, yet charmingly amusing; the background is excellent (London, as in a children’s book) and the visual comedy is outright, enjoyable. Nicole Kidman’s villain and the ever dependable Sally Hawkins, make the movie even healthier. Cute and spiced with British comic sense, “Paddington” is a good watch.

Pride | 2014

“Pride” is the portrayal of 1980s rapport between the London gay-rights activists and the Welsh miners. Matthew Warchus’s dramedy is something you might come to expect of Ken Loach, but less subtle and more crowd pleasing. Essentially realistic and complete with un-caricatured characters, “Pride” is uplifting as it is engaging. With trivial moments, filling it all the way, the cast makes “Pride” even more lovable.

Past, The | 2012

Asghar Farhadi’s “The Past” is indisputably the work of a master, who precisely knows his characters, the evenhandedness in plot and the scrupulous nature of illuminating them in his own style. It is fascinating also to conceive in a perspective that the characters might seem to jump off from where “A Separation” had left off to “The Past”, but, in a different location. Safely, Farhadi is a sound contender to be called the “art-house Hitchcock”. With intense performances from the leads, Berenice Bejo, in particular, “The Past” is universal, intricate, mature and quite a piece of work. One of the best, this year.

Pineapple Express | 2008

David Gordon Green is director, who can be set as an example for a man capable of making great films, but tarnished by his inconsistency. Most of his non-serious films fall under his weedier ones, with an exclusion of “Pineapple Express”, which is a fun riot. David Gordon Green effectually uses the resourcefulness of its leads (Seth Rogan and James Franco) with this buddy comedy that betters itself every moment with a far funnier scene. Reliably funny, enjoyably discomforting, “Pineapple Express” is a fun ride.

Planet Terror | 2007

Robert Rodriguez’ episode of the “Grindhouse” is a clean grindhouse, slasher movie, that doesn’t free itself from the chains of its genre. It amuses as it is ordained to and in a way that every other well-made exploitation movie does. While it doesn’t stand up to its dialogue driven partner made by QT, Rodriguez dark style and impatience is seen throughout. With a stellar cast, “Planet Terror” is nasty, gory, murky and stylish; It is also a superb tribute to the B-movies from the past.

Planes | 2012

“Planes” is mostly a needless animation film. It is unnecessary because of the world the film features and the unequivocally clichéd , completely predictable nature. While having to watch it, it was fun and colorful, but not exciting and very similar to what “Turbo” did a few months back. The only audience it can tickle completely, are the kids. Too safe to satisfy. Passable entertainment.

Place Beyond the Pines, The | 2013

Derek Cianfrance’s ambitious “The Place beyond the pines” is about two individual lives coupled at one’s death. Ryan Gosling startles in his role and Bradley Cooper does what is required of him. Stretching across themes of family, fatherhood and existentialism, “The Place beyond the pines” intends to be intense, while managing to do so only up to a limit. The movie is fascinating, well-scoped, but feels marginally overlong even with its power packed moments. Episodic and satiating, if not thoroughly, Cianfrance’s movie is a cumbersome, yet likeable.

Prince Avalanche | 2013

David Gordon Green’s return to the sensible and thoughtful genre , works out remarkably well with “Prince Avalanche”. With comprehensively deep performances from Paul Rudd and Emile Hirsch, the movie seeps in a heartening appeal. Rich, whimsical, amusing, scintillatingly scored and beautifully shot, “Prince Avalanche” has all elements of buddy cinema to make it touching enough. Not odd enough, but subtler than expected, “Prince Avalanche” is a little charming movie.

Prisoners | 2013

“Prisoners” directed by Denis Villeneuve, is not a rare film, but an vital one. It is fervently complex and vivid, portraying the nightmarish circumstances and the way people handle them. Jake Gyllenhaal stands out as Detective Loki and Hugh Jackman as the missing child’s father. Moody and gritty, not many crime movies since David Fincher’s “Zodiac”, work on many levels. Tense, intelligent and philosophically provocative, “Prisoners” with all its camouflaged flaws, still is wonderful cinema.

Philomena | 2013

“Philomena” is an effortlessly engaging emotional film. Stephen Frears’ balanced direction along with another towering performance by Judi Dench as Philomena Lee, the film never falters. Supported by Steve Coogen on the pen and cast, “Philomena” is a moving tale of search of a son. While not unique, “Philomena” analyzes delivers on the contradictions of beliefs and emotions.

Pickpocket | 1959

Bresson. In the art-house scene, Robert Bresson is the man. In “Pickpocket”, his sublime style of making a thief’s life journal, is so versatile with exciting and soulful sequences, that would make anyone jumpy and pity for the little fellow. Whilst, we would probably not rate “Pickpocket” his best, it is nowhere, less than his first-rate works. It’s a love story, with redemption and is portrayed like no other, in the history of cinema. It is perhaps the Bresson way.

Panic Room | 2002

David Fincher’s “Panic Room” is a stylish thriller that’s boasts terrific talent from Jodie Foster and Forest Whitaker , in particular. Dark, graceful technical cinematography, suspenseful, “Panic Room” is entertaining and thoughtful at the same time. Fincher’s deft direction lifts the movie from a commercial thriller to a solid, terrific popcorn entertainment, despite being showy.