आलोचक समीक्षाएं

It’s an intimate, quiet and slow-paced romance, a simple, richly rewarding movie in the classic style of India’s greatest filmmaker, the late Satyajit Ray.

Batra adeptly plays on the tension of will they or won’t they meet, making good decisions based on character and situation rather than the need to uplift an audience.

Going strictly by plot description, Ritesh Batra’s The Lunchbox sounds a little like an Indian knock-off of a Nicholas Sparks movie, but it plays out more like Brief Encounter.

Batra's film is ultimately less about love than about the vulnerability relationships place us in emotionally, and courage required to move past pain, and experience life again after we've been hurt.

The patience in mercurially presenting the characters' backstories and desires is matched by the film's genuine curiosity about the healing power of sharing stories.

What is most endearing is the delicacy with which writer-director Ritesh Batra reveals the hopes, sorrows, regrets and fears of everyday people without any sign of condescension or narrative trickery.

Batra isn't ambitious with the visuals, but he creates an effective, unfussy sense of urban space, both indoor (cramped apartments, crowded buses) and outdoor (even leafy residential streets seem to be swarming with playing children).

This long-distance love story is comfort food in any language, perfectly agreeable and unlikely to surprise.

The Lunchbox ultimately registers as a too-hesitant portrayal of hesitancy, and its pleasures are largely incidental.

A clever setup that harkens back to “You’ve Got Mail” and “The Shop Around the Corner” doesn’t quite pay off in India’s warm-hearted comedy-drama The Lunchbox.