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Barely an hour into Elden Ring, the latest furiously difficult fantasy adventure by the Japanese studio From Software, I made a vital discovery: enemy warriors can be tricked into falling down lift shafts. Or off cliffs. I even managed to tempt one skilled and deadly knight to walk out of his castle and into the path of a giant boulder – a trap that had been meant for me. It killed him instantly, saving me an intense battle that would have probably involved multiple deaths and restarts. I knew that I had crossed an important, almost forbidden Rubicon – I was now cheesing one of the most critically acclaimed games of the year. Cheesing is video-game slang for beating tasks or enemies through tactics that while not exactly cheating, are certainly not following Queensbury rules. When you cheese a game, you’re exploiting systemic quirks or apparent design oversights to gain maximum advantage for minimum skill or effort. Players have always cheesed. It’s something I discovered via the 1985

Enthralling, absorbing and engaging, #Kahaani never resorts to italicized emotions to get our attention. We are hooked unconditionally from Scene 1. Not many know this. But after Kahaani director Sujoy Ghosh and his leading lady Vidya Balan were at loggerheads. Neither has spoken on why they stopped speaking to each other. But the truth is, Sujoy wanted Vidya to do Badlaa (which he eventually made with Taapsee Pannu). But she had other commitments. Sujoy told me, “It happens in all close relationships. We start having unreasonable expectations from one another. Balan (yes, that’s what he calls her) and I faced the same situation.” For four years after Kahaani, Ghosh and Balan did not speak. He offered the “spiritual sequel” to Kangana Ranaut and Kareena Khan and then returned to Vidya who said yes. The sequel about child abuse is best remembered today for the most absurd casting ever: Jugal Hansraj the heartbreaking moppet from Shekhar Kapoor’s Masoom as a paedophile. In all other aspe

 Oscars 2022: What makes Flee, Danish International Feature, a watershed in LGBTQ+ representation Flee does not make a song and dance about self-disclosure and acceptance of LGBTQ+ people. Director Jonas Poher Rasmussen leans into it with quietly, and with dignity. As the Taliban seized Kabul in 2021, and the future of Afghanistan became a matter for all and sundry to discuss on television panels, the safety of LGBTQ+ people was rarely taken up as a topic of concern. It is befitting, therefore, that one of the most powerful films nominated for the Oscars this year – Jonas Poher Rasmussen’s Flee – is about a gay man in his 30s narrating how he fled from Afghanistan as a child, and sought asylum in Denmark. This film has made international cinematic history with nominations in three categories – Best Documentary Feature, Best Animated Feature, and Best International Feature. Rasmussen is a Danish filmmaker, and his film is based on the story of his friend’s life. It opens with a note cla

Here is looking at the dialogues of The Godfather films that have inspired similar lines in numerous films across the globe. We choose not to rank these. Never let anyone know what you are thinking, Al Pacino as Michael Corleone declares with trademark dash in The Godfather Part III [1990]. The line is one of countless unforgettable dialogues in the trilogy, defining the essence of the character that delivers it. The world of the Corleones, however, would not quite be the same if the protagonists did not occasionally let the world know what they were thinking. Dialogues of The Godfather trilogy are definitely among the most powerful narrative tools Francis Ford Coppola uses to carry forward the gripping gangster drama across three films, which continue to mesmerise legions of fans decades after release. To recreate the spirit of Mario Puzo’s original novel of the same name, Coppola roped in the author to collaborate on the writing of all three films, Apart from replicating the mafia mi