Dynamixor The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

Lollivan It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Sienna-Rose Mclaughlin The movie really just wants to entertain people.

Ginger Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

Prasanth Menon In between my transit and my stay at various places in Kerala, I happened to see the movie 'GOOD NIGHT, GOOD MORNING'. It was one of those Indian English movies or rather what we simply call as NRI movies. A noted film-critic with 'The Hindu', 'GOOD NIGHT, GOOD MORNING' is Sudhish Kamath's second movie, and as a regular reader of his movie reviews in 'The Hindu', I was naturally attracted to this second venture of his. The title as well as the poster caught my attention and so did the synopsis, as I delved into this movie which is entirely shot in black and white. The Black and White narration seemed to be an anachronism at first, but it essentially turns out to be the movie's USP. It adds to the romanticism of the plot as only the dreamy sequences and the flashbacks are in color. The film employs the 'Split-Screen' narrative, where the entire story is shown happening side by side. Plot wise, the movie is original, engrossing and entertaining.The movie is based in US, New York and the main protagonists are NRI's which help strike an instant chord with the urbane multiplex hopping young Indians. The story revolves around the female character Moira (played brilliantly by Seema Rehman), who stops by in New York while on her transit. There she meets Turiya (played by Manu Narayanan), who along with two of his friends is on a wild night celebration spree. The guys manage to get her hotel room number and there by her phone number.While on their drive back, in an intoxicated state, the guys decide to call her. Turiya calls her and after an initial hesitation, the Moira engages in conversation with him. The rest of the movie is about their phone conversation which is gripping, self reflective as also romantic. The topics of their conversation range from their mutual attraction, to discussion about 'The Matrix', spiritual stuff as also their individual problems. In the course, they both discover themselves and each other as a subtle romance takes over.'GOOD NIGHT, GOOD MORNING' is a very subtle movie, depicting the nuances of relationships that happen just out of the blue - with people whom we never meet or never thought about meeting, but still happens - and then leaves a lasting impression in our lives making us wonder, how life can be so strange. Sudhish Kamath's narrative is fresh, romantic and engrossing while, performances of both the lead actors, Seema Rehmani and Manu Narayan are compelling and original. It is one of those movies that have to be relished like a crunchy and creamy ice-cream sandwich. A must see movie.

vishaltflw Making rounds of several national plus International film festivals, Sudhish Kamath's (co- written with Shilpa Rathnam) Good Night | Good Morning is an independent film about an all- night phone call between two strangers. Sudhish, an expert movie critic; fabulous host on a chat show (Hands up), goes behind the camera for the second time, with this 80 odd-minutes film. New Years Eve in New York City, Turiya (Manu Narayan), out at a pub with his bunch of boys JC (Raja Sen), Hussein (Vasanth Santosham) plus another inebriated guy (though I'm unsure why he was needed) spot an unaccompanied Moira (Seema Rahmani). Even though the group is shunned by Moira when they approach her at the pub; upon leaving the place, Turiya (who is road-travelling with his lads) calls Moira (who is back at her hotel room). What starts as smart talk between strangers soon turns into a candid tête-à-tête about love, relationships, life and the fancy things that go with it.The lead pair does an exceptionally competent job of enacting their director's vision to the 'T'. They are compelling, maintain consistent body languages and exude great screen presence to reach out to the audiences. Even though the characters are merely connected over phone, their chemistry shines throughout. It takes lesser time for the audience to be charmed by the duo, than it does for them to eventually fall for each other. Manu's 'Turiya' is the quintessential urbane boy - tries to say the right things, is dumbfounded when he quite often has his foot-in-his-mouth moments and turns to pals endlessly for prompts on the trickier questions. He constantly finds himself swinging between safe humor and measured clever talk, ensuring he maintains the right balance to impress (or rather not offend) the girl. Seema's 'Moira' is so relatable that I kept thinking this is EXACTLY what I would have said/done. She's confident but vulnerable, liberal but conformist. She wants to trust the guy, but remains guarded; slams him the first time he tries to make small-talk as a stranger, but almost instantly calls him back probably realizing he isn't a creep with weird fetish. Holds onto her identity, weighs her words, and flirts cautiously so as to not be perceived as easy. She goes through the same emotional roller-coaster that most of us single, new-age feminists do, secretly craving attention but being wary of any guy approaching us, thinking he is a chauvinist just like the rest, which (I quote from HITCH) "life experiences has taught, is a virtual certainty". The cameos are excellent as screen fillers, but sadly the quirks and one- liners are comparatively disappointing.Sudhish had me bowled over at the opening credits when he decided to use jazz music score, it served the perfect momentum for the rest of the film. Without getting into much technical details, black & white scheme works perfectly to lend an old-world mystique of romances, split screen technique of showing Turiya's and Moira's settings is apt as it ensures we get to simultaneously see the reactions of both characters to a particular situation. Bingo!The screenplay is the undisputed USP of the film. It's the usual boy-meets-girl premise but with an expertly drafted account of the varied stages of a relationship. Minute scene detailing, its backdrops, have been wonderfully thought about. My favorite bit about the movie is that it consciously restrains itself from resorting to clichés. Eg: Despite Moira's failed past, it does not put her off men completely. Even though she says she doesn't believe in love, she isn't averse to the feeling or the possibility that she could fall in love someday. When she professes that she's optimistic, makers give us reason to believe her. Another major comfort is the unabashed individuality the film maintains, taking us far away from Bollywood's brain- dead romances in which oversmart-confused boy is right, but secure-levelheaded girl is proved wrong. Apart from being delightfully entertaining, the film encourages to think - about new beginnings, 'the end', commitments, re-bound, holding up and letting go, forgiving, forgetting, the 'happily-ever-after'. In short, there is a little bit for everyone.Reason 3 (and the most important) that made me fall in love with GNGM are the dialogues. For me personally, the headiest stimulant there ever can be, is being part of a witty, sharp conversation. GNGM gets full marks for not only keeping it absolutely real, but more so for never letting it slip away. The dialogues hold true to the vocabulary of the day, are supremely effective because they never come across as scripted, rather flow on naturally. Background score fills in nicely without being distractive, cinematography in general but in specific opening credits which briefly familiarizes trademark New York, is impressive.Very few times do we come across a cinema that consumes you in a way that you're delighted, awed and indulged in a single shot. GN|GM is the very kind of cinema that tugs the heart for its earnest intentions and unadulterated cinematic treat. I found myself watching and re-watching some splendid scenes, from the initial awkwardness, subdued seductions, and unspoken confessions. It all feels wonderfully real that I am almost tempted to pick up the phone and have one such rendezvous of my own. Clocking at close to 77mins, Good Night | Good Morning successfully brings alive on celluloid one of my favorite sayings, 'If you won't let go of old memories, there won't be room for new ones'. For those who haven't had a chance to watch it yet, make sure you do not miss this one. Highly Recommended. - Pooja Rao, Bollyspice

turiyaomprakash GNGM is a film of its kind, if Woody Allen had wanted to make a conversational film based on 2 American's of Indian origin... It would look like Good Night|Good morning!(well almost)Gngm is a conversational film made in black and white and the entire movie is split screen, the film is about 2 strangers who talk to each other on the new year's eve and end up falling in love(almost again). Given the fact that the whole film has just 2 locales and is split screen dialogs are a very important thing, each word in the film is quite brilliantly written and yes they touch the chord quite easily. The screenplay(I happened to see the uncut version) is quite nice in fact it is phenomenal! If at all you are wondering what the plot of a film about 2 strangers talking to one another and that too on a phone , the answer is quite simple-the plot is in you. It is about the demons in you that curtail you from being decisive about life, romance and most importantly... relationships. Turiya Omprakash(played by Manu Narayan) and Moira(Seema Rahmani) are 2 strangers who meet up in a bar at NY and begin a telephonic conversation and end up entering into 2009 talking to each other, the plot is quite simple but the film is quite loaded! There are just 2 locations one the hotel room from which Moira speaks from and the car from which Turiya speaks from, Turiya is accompanied by 3 of his friends JC(Raja Sen), Hussein(Vasanth Santosham) and Moira is all lonely. There is just one thing in common between the 2 they are both heart broken and how this one thing brings out the monsters within them is what the film is all about.Applauds Shilpa Rathnam and Sudhish Kamath for writing such a brilliant screenplay, in the uncut version there is a mention about the past relationships performed beautifully well... I swear I laughed my ass out for the KKHH spoof. Coming to the performances Seema and Manu have done a brilliant job and special mention to Seema. Manu does a neat job as well, the only problem I find in the casting is that Raja Sen is a little wasted he could have been given more dialogs. Vasanth Santhosham does a great job too. The other problem lies with Seema's make up in the boy meets girl scene, where the hair style remotely suits her. Besides that she is perfect. Coming to the locations, there is a sequence about Moira's broken relationship, according to the film it is supposed to be taking place in the USA but the it looks obvious that they have been shot in Chennai. There is a scene where Moira attempts suicide and that too looks obvious that it has been shot in a beach near Chennai. Apart from these small issues the film is phenomenal, amazing and a standing ovation to the entire team. It is the best thing that could happen to Indian Indie cinema after Little Zizou(2008)!! Sudhish Kamath has come a long way from TFLW, he makes a perfect Woody Allenish film that stands out !!! I am just hoping that someone picks it up for theatrical release.My rating for GNGM: 9.3/10!!!!!!!!!! - Sai Prasad Narendran

ishatflw "To call Good Night | Good Morning good cinema is understatement; it's beyond good… It's original, engrossing and entertaining. But what it does most is make you think. You find yourself pondering over old relationships, realizing the need to forgo and let go and more than anything, GN|GM reinforces your faith in love… it's a conversation you'll never forget," Roshni Mulchandani, BollySpice, wrote in her review of Good Night | Good Morning after the New York screening."Very few times do we come across a cinema that consumes you in a way that you're delighted, awed and indulged in a single shot. GN|GM is the very kind of cinema that tugs the heart for its earnest intentions and unadulterated cinematic treat. I found myself watching and re-watching some splendid scenes, from the initial awkwardness, subdued seductions, and unspoken confessions. It all feels wonderfully real that I am almost tempted to pick up the phone and have one such rendezvous of my own," Pooja Rao, BollySpice, wrote in her review of Good Night | Good Morning after the Delhi screening."Special mention to Sudhish Kamath's 'Good Night | Good Morning' which is in the 'Before Sunrise' space. The script by Kamath and Shilpa Rathnam is mint fresh with some great dialogues.," Harneet Singh, Indian Express, wrote in her review of the Mumbai Film Festival that played over 200 films over a span of a week between October 21 and 28. "Good Night Good Morning is lovely. Good mood, sharp lines, super acting and that jazz," she had also tweeted after the screening."The standout Indian efforts were Srinivas Sunderrajan's The Untitled Kartik Krishnan Project, a film on filmmaking, made on Rs 40,000; Sudhish Kamath's Good Night, Good Morning, a romantic film about a phone talk between two strangers; and Girish Kasaravalli's Kanasemba Kudureyaneri (Riding the Stallion of a Dream), a tale of a grave-digger's loss of faith in the power of his dreams," Namrata Joshi, Outlook Magazine wrote in her review of the Mumbai Film Festival."I liked Sudhish Kamath's Good Night Good Morning. Touching sophisticated film with Manu Narayan, Seema Rahmani and a very cool Raja Sen," journalist Aseem Chhabra tweeted after catching the film at the South Asian International Film Festival and said on camera that it was very rare to see a film like this come out of India."Good Night Good Morning by Sudhish Kamath is an arresting watch. Slick shots and crisp writing," film critic Mihir Fadnavis tweeted after watching the film at the Mumbai Film Festival."It is touching, heart breaking and drives you down the memory lane. I can easily say this is the most daring movie ever made. It's a must-watch. I am going with 4/5," blogger Naveen Varadarajan writes on BehindWoods."It takes great skill to write something that sounds this off-the-cuff. Too clever, and the viewer beings to question the likelihood of two strangers spitting out one-liner after one- liner at three in the morning; go too far in the other direction, and it becomes commonplace, and not worth watching… The leads had to be charming for it to work, and they are, Narayan with his timid overtures, Rahmani playfully knowing," a movie buff called A Fan Apart blogged after the screening at the Habitat Film Festival in Delhi."If Woody Allen had wanted to make a conversation film based on two Americans of Indian origin, it would look like Good Night|Good morning," movie-buff Sai Prasad Narendran blogged in his review of the film, and rated it 9.3/10!