Reviews

#FinalVerdict

Dolly Kitty Aur Woh Chamakte Sitare is a confused mixture of different emotions. The slow pacing also ruins the impact. Moreover, the message director Alankrita Shrivastava conveys doesn't reverberate after the screening has concluded.

With a plot like this, writer/director Alankrita Shrivastava could've done wonders. Unfortunately, Dolly Kitty Aur Woh Chamakte Sitare neither provides wholesome entertainment nor sets you thinking. The execution of the material would appeal to a tiny segment of viewers and a mandate from the aam junta will elude it.

It's difficult to single out any one sequence in particular which has a consistency. Director Alankrita Shrivastava's choice of the subject is laudable but the screenplay is dry and confusing. Also, the culmination to the story seems hurried and unjustified. Instead of beating around or taking its own sweet time to come to the point, the end should have been at least right. Charu Shree Roy's editing is below par. The film feels stretched.

Mangesh Dhakde's background score is effective in parts. Although the music is in sync with the genre, it has its limitations. The ambience of Dolly Kitty Aur Woh Chamakte Sitare (art: Tiya Tejpal) deserves special mention. John Jacob Payyapalli's camerawork is average. Shruti Mahajan's casting is perfect but the characters of Kubbra Sait, Amol Parashar, Vikrant Massey, Karan Kundrra and Aamir Bashir are underdeveloped. Konkona Sen Sharma is flawless yet again. Bhumi Pednekar is exceptional.

On the whole, director Alankrita Shrivastava is known to dabble in issues pertaining to women but she fails miserably this time in defying the rules of commercial cinema. Dolly Kitty Aur Woh Chamakte Sitare will be rejected outright!

#FinalVerdict

Director Shailender Vyas' JL 50 - a SonyLIV original series - takes a giant leap in terms of execution. The soul is very desi. JL 50 is beauty (read good looking series) with brains (read content). JL 50 emerges trumps in all the three departments that are absolutely necessary for an alluring sci-fi series. Firstly, it has ample edge-of-the-seat thrills. Secondly, it boasts of luminous performances. Thirdly, it has a narrative that keeps you yearning for more.

You've got to gamble huge to triumph huge. Kudos to producers Deepti Singh, Devendra Gandhi, Ritika Anand, Abhayanand Singh-Piiyush Singh's Golden Ratio Films, Miten Shah and Manish Pal Singh along with SonyLIV because they are The Supreme Gambler! JL 50 pushes the envelope further.

JL 50 is very Indian at heart. Director Shailender Vyas may have been inspired by international flicks as far as the plot is concerned, but he serves the right masala in those 4 episodes. Moreover, he brings out the best in his actors to deliver an impactful series. For the amazing screenplay, for the speedy yet smooth stream of the narrative and for the fantastic unfolding of the written material, director Shailender Vyas merits top admiration for every act of his. JL 50 is not merely a great looking series, but also has soul!

Shailender Vyas-Sushant Mishra's crisp editing keeps you on tenterhooks. On one hand, JL 50 offers its share of thrills, on the other, there's a synchronized drama that runs parallel in the story. Bradley J Stuckel's cinematography is top-notch. The background music is equally electrifying.

Abhay Deol effortlessly glides into the character. Pankaj Kapur, take a bow! He's terrific. Rajesh Sharma is natural. Piyush Mishra aces the menacing act. Ritika Anand and Pujarni Ghosh deliver super-confident performances. The supporting actors lend able support.

To sum up, SonyLIV's JL 50 has a clear plot to hook the viewer in place rather than impress with empty special effects, unlike so many bloated sci-fi series. Do watch this series to partake in writer-director Shailender Vyas' prodigious imagination.

#FinalVerdict

Watch Masaba Masaba - a genre-bending series on Netflix India - for director Sonam Nair's striking direction, for Masaba Gupta & Neena Gupta's superlative performances and for its inspiring and enlightening plot!

Films/web series are nothing but reel representations of the real-life. Director Sonam Nair has carved a niche for herself in making realistic yet commercial cinema (Gippi, Khujli). Her penchant for realistic storyline continues with Masaba Masaba. Although Masaba Masaba is a fictional version of events, Sonam Nair along with co-writers Nandini Gupta, Anupama Ramachandran & Punya Arora highlights Masaba Gupta's life after the exposure to fame and success by keeping the narrative engaging throughout. There are many occasions wherein director Sonam Nair could have just lost control and gone over the top but she restrained the storyline convincingly. Kudos to her for coming up with a series that enlightens, motivates and entertains you!

Director Sonam Nair brings alive everything you've read in newspapers or watched on TV as an outsider, to the celluloid. And that works and how! But let's not give the subject material all importance, for Sonam Nair's handling of the subject is exemplary.

But there's a hitch which tones down the impact to some extent. Masaba Masaba starts meandering in the middle and the drama seems forced. But the series gathers steam during the closing stages, with Sonam Nair handling the culmination with adroitness.

The DoP (Aditya Kapur) captures the varied emotions and the glam quotient with dexterity. Eka Lakhani's styling is striking. Panchami Ghavri's casting is spot-on. Shruti Bora's editing and Anasuya Sengupta's production design are perfect.

Masaba Masaba is debutante Masaba Gupta's show all the way. Every emotion, every sentiment is projected with sheer brilliancy. Neena Gupta is incredible. She arrests the viewer's attention whenever she appears on the screen. Neil Bhoopalam leaves a solid impression. The other characters get less screen space, but they are clearly etched nonetheless. Satyadeep Misra, Smaran Sahu, Rytasha Rathore, Sunita Rajwar, Suchitra Pillai and Harpreet Vir Singh are praiseworthy. Nayan Shukla is incredible. Way to go!

To sum up, Masaba Masaba's subject - the behind the scenes working and drama of the fashion industry - is its USP. Watch it for its wholesome entertainment value and the efforts of the complete cast & crew! Netflix India and producer Viniyard Films have a winner on hands!

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The first question that crosses your mind after having watched Sadak 2 is, for whom has director Mahesh Bhatt made this film? Is it for the Indian audience - the upper strata, the commoners, the hoi polloi? Or is it targetted at the international audience?

Sadak 2 is neither novel nor experimental. It falls flat on its face! While bits and pieces of the first half are somewhat watchable, the film goes completely awry in its post-interval portions. A disaster of epic proportion! Seriously, what was Mahesh Bhatt and Suhrita Sengupta thinking while penning this apology of a script? Strangely, director Mahesh Bhatt's style is abstract this time around, which fails to catch the viewer's fancy. He seems completely clueless.

To sum up, there are good films and there are bad films. Sadak 2 is neither good nor bad. It's just excruciatingly boring! In addition, there are too many coincidences all through, which totally seem unreal and unbelievable. Sadak 2 is over two hours of complete drivel.

#FinalVerdict

Aashram - an MX Player original series - is an indescribable boring experience. A thesis on guilty pleasure entertainment! Directed by Prakash Jha, the series lacks the power to keep you glued to the screen.

Given the topic amassed on the plate, one could explore so much. But in Aashram, the story only moves in the penultimate moments. Director Prakash Jha could've explored so much given the choice of the subject but he's letdown terribly by the script. The problem with Aashram begins soon after the characters and their diverse characteristics are introduced. The closing moments are interesting because it's at this juncture that there's some movement. But it's too late by then. The viewer is exasperated by now!

Aashram is shoddy in every possible way! This is a poorly assembled, terrifically tacky and tremendously ill-conceived show. After the disappointing Class Of 83, Bobby Deol is again reduced to a supporting presence in this MX Player original series. Ideally, Bobby Deol should have been given a role befitting his top-billing. Also, the 'sex scenes' are forcefully inserted into the plot and for some bizarre reason, these scenes have been self-censored but the language and the violence aren't censored at all.

More minuses! Advait Nemlekar's background score is jarring. Also, the length is a problem. In this case, the run time seems never-ending (Editor: Santosh Mandal). The series goes on and on and after a point, you actually want to scream, 'Enough!'. Chandan Kowli's cinematography is passable. Director Prakash Jha has tried to recreate the magic of his earlier hits but failed miserably. Moreover, the series has a huge cast but only Bobby Deol, Chandan Roy Sanyal, Aaditi Pohankar and Darshan Kumaar leave an impact.

On the whole, Aashram has precious little to offer. It has a body, but no soul. It's very high on hype but very low on substance. A moviegoer wants a riveting story more than anything else. This series is definitely worth a miss!

#FinalVerdict

Presented by Shabana Azmi and directed by her brother, the acclaimed cinematographer Baba Azmi, Mee Raqsam - which literally translates to "I Dance'' - is an honest attempt at tackling a bold theme. A terrific film that will stay in your heart!

Mee Raqsam is an ode to Kaifi Azmi Sahab. Although an effort like this is sure to find its share of bouquets and brickbats but the message that the film conveys resonates loud and clear, without getting preachy.

Till sometime back, certain themes were kept locked inside the almirah. Delicate and sensitive issues and relationships are slowly stepping out of the closet. On celluloid. Written by Safdar Mir and Husain Mir, Mee Raqsam connects with every segment of moviegoers. Director Baba Azmi has treated the film with utmost sensitivity. There are several scenes that linger in your memory for a long time and prove the director's command over the script and medium. A welcome change from the oft-repeated themes which degrade a woman no end!

But Mee Raqsam isn't a foolproof product. It has its share of flaws. The turn of events isn't captivating at times. The characterisation of certain characters and their track seem incomplete. But the film packs in so much, there's no time to think or analyze.

Mee Raqsam is soaked in reality. It takes the realistic route without bowing to market diktats or over-stretching realities. The film stays true to the material. Besides, the director along with the team of writers stay away from the tried-and-tested tropes. There's a strong emotional connect as the film depicts the delicate relationship shared by a father and his daughter most realistically. The drama is spot-on. The emotional quotient is heartrending. Moreover, the culmination takes the film to an all-time high.

George Joseph-Ripul Sharma's background score is effectual. The DoP (Mohsin Khan Pathan) deserves tremendous praise for doing complete justice to the vision of the director. Dialogue empowers the film wonderfully. Pooraj Kapoor's editing is watertight.

Mee Raqsam is a Danish Husain show all the way. Newcomer Aditi Subedi is truly fantastic. Way to go! Naseeruddin Shah, Shraddha Kaul, Rakesh Chaturvedi Om and Sudeepta Singh are mature performers. Shivangi Gautam, Juhaina Ahsan and Kaustubh Shukla inject freshness to their respective characters.

To sum up, Mee Raqsam is director Baba Azmi most accomplished work so far. He deserves brownie points for narrating the story with flourish. The narrative style is simplistic, yet solid and that's what catches your eye. Watch Mee Raqsam On ZEE5 right away!

#FinalVerdict

Loosely based on S. Hussain Zaidi's book, The Class Of 83: The Punishers Of Mumbai Police, this Netflix India original film - produced by Red Chillies Entertainment and directed by Atul Sabharwal - has an archaic premise that offers no novelty. The film relies on the tried-and-tested recipe from commencement to conclusion. The tough life a cop leads, the politician-underworld nexus, the clash of ideologies... plots and sub-plots like these have been witnessed time and again. It doesn't work at all!

Class Of 83 is Bobby Deol's first tryst with an OTT platform but the screenplay (Abhijeet Deshpande) is far from inventive and everything seems conventional. A few moments do keep you glued and hooked to the proceedings, but the wafer-thin plot and lacklustre screenplay play spoilsport. What takes you by complete surprise is the crude humour (dialogues: Atul Sabharwal) that's integrated into the narrative. I mean, one doesn't mind the toilet humour as long as the situation warrants it, but it seems totally forced in the film.

Bobby Deol flaunts the attitude all through. Vishwajeet Pradhan and Joy Sengupta are simply brilliant. It's a joy watching Anup Soni in a negative role. Bhupendra Jadawat, Ninad Mahajani, Hitesh Bhojraj Malukani, Prithvik Pratap and Sameer Paranjape are absolutely flawless. Way to go!

On the whole, Class Of 83 doesn't give you the feeling of having watched a mazedaar entertainer purely because, besides being conventional and foreseeable, it is also stretched without any solid reason whatsoever (Editor: Manas Mittal). It will be outright rejected!

#FinalVerdict

Khuda Haafiz has some engrossing moments in the first hour, that's about it. The post-interval portions are an absolute downer. This one is a golden opportunity lost, a king-sized disappointment!

Khuda Haafiz throws light at issues such as prostitution and human trafficking. Faruk Kabir's story is formula-ridden and moves at snail's pace. The writer/director could have done so much with the content but, sadly, he lets go of this golden opportunity. The screenwriting has some moments in the first hour but the narrative loosens the grip as it progresses. Worse, too many cinematic liberties and a lifeless second hour act as roadblocks. The dialogues between Annu Kapoor and Vidyut Jammwal are superb.

Actor-turned-director Faruk Kabir does manage to make an impact, but with such poor written material on hand, he could not salvage the show either. Also, to his credit, he has extracted top-notch performances from the cast. Mithoon's music is in sync with the narrative. DoP Jitan Harmeet Singh captures the stunning visuals of Uzbekistan with finesse. Amar Mohile's background score is apt. The production design is top-notch. NY Vfxwaala's VFX is A1. Sandeep Francis' editing is uneven. The film could've done with shorter run time.

Khuda Haafiz would've been unbearable had the casting director (Apurva Singh Rathore) entrusted the acting reins in inept hands. Vidyut Jammwal delivers a knockout performance. Shivaleeka Oberoi radiates innocence. An actor to watch! Annu Kapoor is tremendous, as always. Shiv Panditt packs a punch. Aahana Kumra excels. Nawab Shah is effective. Moreover, each character gets the Arabic-Hindi diction spot on and the sole action set-piece is gory.

To sum up, Khuda Haafiz is style over substance. Strictly for Vidyut Jammwal fans!

#FinalVerdict

Gunjan Saxena: The Kargil Girl reinvents the genre with its non-formulaic screenplay and skilled direction. This heartfelt biopic raises a toast to the daunting spirit of India's daughters!

The film captures Gunjan Saxena's effervescence and her professionalism, getting us invested in the character long before we see her take wing and be amazing. Especially in today's time, we should celebrate personalities like her who have been brave females. First-time director Sharan Sharma chooses a subject to send across a message. The larger message is that any woman can triumph over any uncertainty and surmount all apprehensions if she makes an earnest endeavour to overcome it. Also, one needs to applaud the endeavour because films like Gunjan Saxena: The Kargil Girl take the unconventional route, yet enlighten and entertain, both. Sharan Sharma and Nikhil Mehrotra (story) make sure to stay faithful to the essence by not deviating to unwanted tracks.

Gunjan Saxena: The Kargil Girl grabs your attention from the commencement and never relents. Nikhil Mehrotra and Sharan Sharma's dialogues (additional dialogues by Hussain Dalal) elevate the overall impact. Moreover, the dialogues never turn too filmy. Nitin Baid's editing is perfect. Manush Nandan's cinematography stunningly captures the various moods of the film. Special mention to Marc Wolff's stunts and aerial coordination. Amit Trivedi's songs are situational. John Stewart Eduri's background score is perfect. Red Chillies' VFX is top-notch. Director Sharan Sharma's handling of dramatic moments is noteworthy.

Jhanvi Kapoor's Gunjan Saxena quietly seals a place in your heart. She lends her character the much-needed intensity and dignity. Not just his body language and expressions, but even Pankaj Tripathi's silence speaks a lot. Superb act! Ditto for Ayesha Raza Mishra. Angad Bedi is very good. Vineet Kumar acts with all the conviction at his command. Manav Vij makes a superb impact. Akash Dhar leaves a mark.

On the whole, Gunjan Saxena: The Kargil Girl is relevant, amusing, emotional and insightful. A truly inspiring story that will grip you from the first frame till the last. A tender salute to woman's valour! Strongly recommended!

#FinalVerdict

To be fair, director Prakash Jha's Pareeksha is a well-intentioned film that has its heart in the right place. But the film has a combination of an outdated script and shrill TV-soap treatment that you'd seen in the 80s.

Prakash Jha's cinema has always illustrated harsh realism in a transfixing and riveting manner. Pareeksha has a lot to say, but the predicament is, what translates on the screen is not razor-sharp. But, of course, there are few defining moments in the movie.

A Prakash Jha film is talked about for more reasons than one. It provides food for thought and sets you thinking. But Pareeksha merely touches the tip of the iceberg. The writer creates a non-believable situation. Moreover, the screenplay is repetitive. Pareeksha moves along at snail's pace. It tackles an interesting topic but doesn't make much of an impact. It's a shame because some things in the film do work. The biggest drawback is that the climax tries too hard to throw a hard punch, but fails miserably.

Although Pareeksha has noble intentions, it could have been a gripping fare had director Prakash Jha tackled the subject more realistically. Barring a few sequences, it lacks the power to keep you glued. On the brighter side, the acting is distinguished. Pareeksha gets very real at times, but gets ludicrous as well. Adil Hussain gives a completely new dimension to this character. The role is tailor-made for him. Priyanka Bose has an equally challenging part and she handles her scenes with complete understanding. Sanjay Suri is a complete natural, as always. Pareeksha offers Shubham Jha several difficult sequences, which the child actor carries off with flourish.

To sum up, Pareeksha runs out of steam midway. Its noble intentions notwithstanding, the film is a real slog. This could well turn out to be one of the year's most forgettable films.

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Created by Anand Tiwari and Amritpal Singh Bindra, Bandish Bandits is a genuinely hatke fare, which will appeal to those who believe in this kind of story. The web series has nothing to offer to the common man. A non-starter!

There's mainstream web series that caters to the masses, the junta. There's parallel web series that caters to the youth living in big metro cities. There's art-house cinema/series that caters to a niche audience. Bandish Bandits belongs to the third category.

Bandish Bandits has a simple plot well told. But the problem with web series of this genre is that they cater to a very tiny segment of moviegoers. Those appreciating this kind of cinema are hard to find in today's times! They exist in the Festival circuit.

Bandish Bandits rests on a simple plot and the setting is beautiful. Visually striking (DoP: Sriram Ganapathy), laced with competent performances and chartbuster music, this web series falters only because it takes its own sweet time to drive home the point. There's no denying that Bandish Bandits does boast of brilliantly executed sequences. Even the sequence towards the climax is exceptional. Swapnali Das' production design is magnificently unique. Music (Shankar-Ehsan-Loy ) suits the demands of the script.

Director Anand Tiwari deserves credit for handling Bandish Bandits with utmost sensitivity, but the subject and the screenplay (Lara Ahsan Chandni, Amritpal Singh Bindra and Anand Tiwari) could meet with diverse reactions. Ajay Sharma's editing is sluggish.

Bandish Bandits' casting (Casting Bay) is top-notch! Ritwik Bhowmik is a revelation. Ditto for Shreya Chaudhry. Amit Mistry, Sheeba Chaddha, Rajesh Tailang, Kunaal Roy Kapur, Meghna Malik, Naseeruddin Shah and Rituraj K Singh are highly competent.

To sum up, Bandish Bandits, directed deftly by Anand Tiwari, has a one-line premise that's reluctantly stretched into an unconvincing screenplay. Despite its plot of convenience, the actors somehow rise above the mediocre writing. And that is it!

#FinalVerdict

Lootcase is a tongue-in-cheek comedy with an out-of-the-box concept. Lootcase may not be the funniest film ever, but it qualifies as a qualitative, well-shot and thoroughly enjoyable entertainer.

Lootcase delivers what it promises: Enjoyable moments, amusing jokes and non-stop entertainment. Having said that, Lootcase isn't fool-proof either. The bloated run time acts as a roadblock. The film feels elongated and also indulgent at times.

Kapil Sawant and Rajesh Krishnan (story/screenplay) borrow everything available on the shelf and come up with a plot that succeeds in its endeavour of making people laugh. The jokes may seem juvenile, but the impact is very, very funny. Lootcase is a must-watch!

Rohan-Vinayak and Amar Mangrulkar go completely innovative and inventive with the soundtrack of Lootcase. The DoP (Sanu John Varughese) captures the essence of Mumbai extremely well. Sameer Uddin's background score is apt. Dialogue (Kapil Sawant) evoke mirth.

Directorially, Rajesh Krishnan has not only shot the film exceedingly well but has also concentrated on making every sequence thoroughly entertaining. He has ensured that the viewers get what they seek in the film: Complete time pass entertainment. Lootcase rocks!

Some of what's found in Lootcase is laugh-worthy also because of the way in which the actors emote and react. The script contains enough hilarious moments to allow each member of the cast to have a chance to shine. Casting Bay has done an amazing job. Kunal Kemmu is superb, his timing is matchless in Lootcase. The flair with which Vijay Raaz performs and stands out is worth lauding. Gajraj Rao is a pleasure to watch. Rasika Dugal is in form yet again. Ranvir Shorey is outstanding. Aryan Prajapati excels.

On the whole, Lootcase promises laughter and entertainment unlimited, right from the opening credits to the finale. A thoroughly enjoyable fare, the film has all it takes to hit the bull's eye. A clean comedy with no vulgarity, Lootcase is an absolute winner!

#FinalVerdict

Raat Akeli Hai works like magic because of its intriguing plotline. The journey, right from start to end keeps you on tenterhooks. And the culmination is what takes this film to dizzy heights.

Honey Trehan joins the ranks of directors who will be one of those calling the shots in the future. As far as the execution of the written material is concerned, the debutant director never takes the been-there-seen-that route even once in Raat Akeli Hai. It does take time to settle down, but once you do get the hang of things, the film offers you twist after twist, throws challenge after challenge. The film has a story to tell and it tells most effectively without any sub-plots or unwanted masala.

Raat Akeli Hai is a first-rate product! The camera movement demands your attention. Cinematographer Pankaj Kumar's output is top class. Sreekar Prasad's editing deserves lavish praises for giving shape to this thriller. The background score (Karan Kulkarni) is stirring. Raat Akeli Hai works primarily because the story (Smita Singh) has the edge-of-the-seat moments aplenty, which catches you unawares as the reels unfold. The story moves in a serpentine manner and it's impossible to guess what the culmination would be. Bravo!

Right from the choice of subject to the choice of actors to the thrilling moments, music and locales, Raat Akeli Hai is a thrill-a-minute saga. Everything is so well synchronized. The finale leaves you awe-struck. Director Honey Trehan gets everything right.

When a film has some of the finest talents sharing screen space, it only heightens the curiosity. Nawazuddin Siddiqui is astounding. Radhika Apte is equally dynamic. Every performance in Raat Akeli Hai is charged. Shweta Tripathi Sharma is first-rate. Gyanendra Tripathi is superb. It's about time filmmakers take note of Shivani Raghuvanshi, Nishant Dahhiya, Riya Shukla and ShreeDhar Dubey. Swanand Kirkire, Ila Arun, Aditya Srivastava, Khalid Tyabji, Tigmanshu Dhulia Natasha Rastogi lend able support. Padmavati Rao is simply brilliant.

Raat Akeli Hai is yet another innovative story with a taut screenplay, riveting direction and applaud-worthy performances. If you are an extremely choosy moviegoer who watches select first-rate films, make sure this movie is included on your listing.

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Shakuntala Devi proves the adage 'There is no great genius without a mixture of madness' right. A terrific film that stays in your heart, remains etched in your memory and restores your faith in Hindi cinema. Bravo!

Brownie points to Anu Menon-Nayanika Mahtani's dynamic script, Ishita Moitra's razor-sharp dialogue and Antara Lahiri's crisp editing. It is a women's show all the way. Moreover, you cannot draw parallels with any other film. Vidya Kasam!

Shakuntala Devi blends drama, emotions, humour extraordinarily... the icing on the cake being Vidya Balan and Sanya Malhotra's towering acts. The writing holds the spectators' interest and doesn't let you digress from the screen, except for a few minutes.

If Vidya Balan is the driving force on screen, it's director Anu Menon who stands out with a near-perfect film. The concept of Shakuntala Devi is oven-fresh and the handling of a number of sensitive and dramatic moments is noteworthy. Director Menon smartly integrates the songs in the narrative, although, the film would've excelled even without songs. The songs (Sachin-Jigar) are situational. Cinematography (Keiko Nakahara) captures the vibrant colours adroitly. Director Anu Menon balances the rough and smooth incidents in Shakuntala Devi and her daughter's lives beautifully. The culmination to the film is novel. Karan Kulkarni's background score is perfect. You'd have a new phrase to chew on this time: 'Vidya Kasam'.

Shakuntala Devi is unimaginable without Vidya Balan. She can handle the comic sequences with as much flourish as the emotional ones. She is absolutely ravishing. Sanya Malhotra's appearance, mannerisms and dialogue delivery are exemplary. Amit Sadh is excellent yet again. Jisshu Sengupta registers a strong impact. Luca Calvani, Adi Chugh, Sheeba Chadha, Nyla Masood, Prakash Belawadi, Neil Bhoopalam and Purnendu Bhattacharya lend able support. Seher Aly Latif's casting is a lesson indeed and how!

On the whole, Shakuntala Devi is a must-watch for every parent, every child. A remarkable motion picture with an overwhelming message!

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Based on the French film Les Lyonnais (2011), Yaara is well adapted by Tigmanshu Dhulia - an avant-garde storyteller of the present times - to suit Indian sensibilities and the film will have you on edge of the seat as it unfolds.

Yaara is engaging in most parts. It starts off strong enough and keeps the momentum going till the end, though, of course, it goes back and forth at times and that could get a bit confusing. The viewer ought to stay alert and watch the goings-on carefully. As Yaara moves ahead, the narrative vacillates between engrossing and not-too-captivating moments. It also gets talk-heavy at times. The climax could've been more impactful. Also, the concept is too urbane. Tigmanshu Dhulia's dialogue is plain ordinary. The plot takes time to come to the point. But Yaara, in totality, is a well-crafted, well-executed film with the ensemble cast pitching in competent performances.

Siddharth Pandit, Ankit Tiwari, Shaan and Gourov Dasgupta-Roshin Balu's music is another asset. Cinematography (Rishi Punjabi) is first-rate. The look of the film is consistently brilliant. The background score (Clinton Cerejo) is exceptional. Each and every frame seduces you into the world that director Tigmanshu Dhulia recreates so delightfully.

The hard work and expertise of director Tigmanshu Dhulia are echoed by the entire star cast of Yaara. Not just the title leads, but each and every actor delivers top-notch performances. Vidyut Jammwal is simply outstanding. Amit Sadh is commanding yet again. Vijay Varma is in top form. Kenny Basumatary, Anuraag Pandey and Mohommed Ali Shah and Shruti Haasan pitch in terrific performances. Shreya Narayan, Sanjai Mishra and Ankur Vikal may not have many lines to deliver, but they do make their presence felt.

To sum up, Yaara may not be Tigmanshu Dhulia's finest work, but it has moments that prove his supremacy as a storyteller and his effort needs to be lauded. Watch it on for the intriguing characters and terrific performances!

#FinalVerdict

The biggest problem with Baaghi 3 is that there's hardly any storyline in the film. Sajid Nadiadwala's adaptation is lame and it rests on a wafer-thin plot. What could've been an exhilarating thriller, with pulse-pounding moments, ends up being a run of the mill saga, courtesy a half-baked screenplay (Farhad Samji). Since Baaghi 3 goes beyond the shores of India, director Ahmed Khan and his team of writers (Sparsh Khetarpal, Tasha Bhambra, Madhur Sharma) could've used their imagination and packed the film with moments that would've made your jaws fall on your knees. Baaghi 3 is a big film in all respects - big stars, big canvas, big expenditure on VFX, big expectations. Sadly, it's a big, big, big letdown as well.

The experience with Baaghi 3 is like, you enter a posh restaurant, waiting for a sumptuous meal to be served, but what's served on your plate is vada-pau. Baaghi 3 takes you back to the 1970s Bollywood, when illogical situations, blood and gore, for no rhyme or reason, were the main ingredients that made the junta break into taalis. Sorry, the formula doesn't work anymore! Seriously, what were director Ahmed Khan, Sajid Nadiadwala (story adaptation) and Farhad Samji (screenplay & dialogues) thinking when they went ahead with this apology of a script? It's perfectly okay to pay homage to the masala films of yore, but the new interpretation has to make some sense at least. The one thing that you realize after watching Baaghi 3 is, no amount of gloss, glam and top-notch stars can ever substitute for a riveting script. Great stars, great styling and great visuals work as long as the script is great.

Farhad Samji's screenplay is a complete mess. In fact, if at all there would be Razzies in Bollywood, Farhad Samji should be nominated proto for coming up with a slipshod, brainless and witless screenplay. What saddens your heart is the fact that Sajid Nadiadwala and Fox Star Studios, the producers of Baaghi 3, have spared no efforts in giving the film a spectacular look. The vision is perfect, but how about narrating an absorbing and attention-grabbing story? You remember Baaghi 3 for its striking visuals, not storyline. It's like embellishing priceless and precious jewels on a mannequin. The fight becomes too Bollywoodish as the hero eliminates an entire army of terrorists, is difficult to gulp! Perhaps, director Ahmed Khan's intentions are right, to make a hard-hitting film that marries realism and fiction beautifully, but the writing indulges in too many cinematic liberties and that's precisely why Baaghi 3 goes off target.

However, lovers of action fares are in for a treat, since the stunts, action and chase sequences in Baaghi 3 are truly captivating. Sure, a few sequences aren't for the faint-hearted, but you can't help but put your hands together for these sequences and the man behind those death-defying stunts. Coupled with top-notch cinematography (Santhana Krishnan Ravichandran) and stylish action (Ram Chella-Laxman Chella, Kecha Khamphakdee) the film begins to grow as reel after reel unspools. But, alas, the film goes for a toss in the second hour. Things actually stagnate as the hero turns into super-hero and combats an army of villains on land, sea and air. Director Ahmed Khan and his team of writers seem to have substituted action for content and that's the most glaring flaw. In fact, you feel that the director and screenplay writers must've decided to go on a vacation in the second hour, entrusting the responsibility on the stunt directors to conclude the second hour.

Baaghi 3 is soaked in high-voltage drama and action, with a consistent undercurrent of tension. As a matter of fact, there's an overdose of action in the film, though, I must admit, a few action pieces are deftly executed. But the absence of a riveting and absorbing screenplay looms large in the post-interval portions. Sure, some sequences do hit you hard, but the writing tilts heavily towards been-there-seen-that kind of situations persistently, promising little or no surprise as the plot unravels. The background score (Julius Packiam) enhances the impact, while the dialogue (Farhad Samji) are power-packed at times, but plain mediocre at places. The film's music is awful but thankfully, there aren't too many songs.

Director Ahmed Khan tries to camouflage the defect (lacklustre screenplay) with stylish execution, hair-raising stunts, eye-filling visuals, but let's not forget that the moviegoer wants to listen to a captivating story at the end of the day. Everything else is secondary! The film goes on and on and on with unwanted scenes galore (editing: Rameshwar S. Bhagat), the outdated love angle and the lenggggggthy fight sequences. Director Ahmed Khan seems to have taken the audience for granted. He has concentrated more on giving the film a slick look than narrating a gripping story and this fact reverberates at several points in the film. There's no denying that Baaghi 3 bears the stamp of an upmarket product all through, but how one wishes the director and the writers would've ensured that the film has a power-packed screenplay to offer as well.

Baaghi 3 belongs to Tiger Shroff completely. No two opinions on that. Take Tiger out of this film and the movie is a big zero. He's the lifeline of this project and his performance will be loved by the masses. Shraddha Kapoor looks gorgeous and acts very well. Riteish Deshmukh is relegated to the backseat. What did Riteish see in this role? Ankita Lokhande's character lacks meat. Jackie Shroff and Vijay Varma are alright. Jaideep Ahlawat and Jameel Khoury evoke terror that one would associate with their characters. They are fantastic.

To sum up, Baaghi 3 is regressive cinema with a capital R. The film has some engrossing moments in the first half, that's about it. The post-interval portions are an absolute downer. The plot is formulaic, while the screenplay is riddled with cinematic liberties. Fans of Tiger Shroff might patronize the movie; however, the aam junta might not take a liking to it. At the box-office, the film will embark on a strong start, but it doesn't have the merits to sustain after the initial curiosity subsides. Baaghi 3 fails as a film.

#FinalVerdict

Anubhav Sushila Sinha fits into that exceptional variety of film-makers that opens up thought-processes without losing the cinematic elements that constitute a film. Right from Mulk (2018) to Article 15 (2019), Anubhav Sinha's body of work stands out from the rest.

There are two kinds of films. One, which focuses on providing wholesome entertainment. And the other, that sets you thinking! Director Anubhav Sushila Sinha's Thappad belongs to the latter category, although it has its share of entertaining moments as well. The Hindi film industry is branded for creating movies from a male perspective. The women's stories are not really exemplified conscientiously. But, out of the blue, the souk of women-centric flicks is fast turning out to be a bankable genre. Sure, masala movies are great fun, but a film like Thappad breaks the monotony, shatters the unwritten rules of the game and scores brownie points. Thappad is a commanding story, has an authoritative central character, has several dominant and thought-provoking moments, which makes it an all-persuasive film.

You enjoy a movie even more if it has the unforeseeable factor adjoined to its premise. Thankfully, a number of storytellers in Bollywood are aiming to surprise, shock and charm you with attention-grabbing yarns you haven't witnessed earlier on the Hindi screen. Some get it right, some don't, but what needs to be lauded is the effort to break the mould, to go beyond the stereotype. Director Anubhav Sushila Sinha's Thappad also dares to push the envelope. Thappad boasts of some of the most talented names on and off screen. And the outcome is laudable!

Director Anubhav Sushila Sinha attempts a film that peeps into the heart of a woman. Without doubt one of the finest realistic films made in recent times, Thappad focuses the viewer's attention to that segment of society that has seldom been depicted on the Indian screen. Director/writer Anubhav Sushila Sinha and co-writer Mrunmayee Lagoo Waikul have opted for a story that has a vigorous impact. Here's a dynamic director-writer duo who needs to be lauded for tackling such a difficult subject with the utmost sensitivity and emerging triumphant! Thappad truly celebrates the human spirit and also reflects a vital change in the society and in the attitudes of people. A film like Thappad pricks your conscience and makes you think. In fact, it's the kind of film that will lead to debates and discussions. If Taapsee Pannu is the driving force on-screen, it's director Sinha who deserves kudos and a few extra brownie points for handling the material with aplomb. His prowess and competence are visible all through the film. The director also incorporates ample emotional baggage that would make you connect with the on-screen characters. Dialogue deserve special mention. They are straight out of life.

Having said that, Thappad isn't fool-proof either. The bloated run time - almost 2.25 hours - acts as a roadblock. Also, to some extent, the story stagnates in the second half. As a result, the film feels elongated and also indulgent at times (editing: Yasha Pushpa Ramchandani). Thankfully, the film is back on tracks towards the closing stages. The final act is indeed brilliant!

A hard-hitting drama, generally, doesn't have scope for music. But Anurag Dipali Saikia's music is malleable. The picturization of Ek Tukda Dhoop song is simple but arresting, keeping the mood of the film in mind. Shakeel Sitarunnisa Azmi's lyrics are also superior. Soumik Sarmila Mukherjee's cinematography is luminous, closing in tight on the protagonist in dramatic moments. The background score (Mangesh Urmila Dhakde) is perfect and he makes sure he doesn't go overboard. Casting (Nandini Shrikent, Karan Mally), filtering, blending of characters together and depicting them in a complex film like this, without outlasting any one character's limit, is a lesson indeed and how!

Thappad is Taapsee Pannu's film all the way and there are no two opinions on that. Her performance deserves the highest marks. Her work is flawless and the impact her character makes on the minds of the viewer is also due to a tailor-made role. She projects an imposing figure of maturity, refinement and veracity. Her performance is bound to be talked-about in days to come. Kumud Mishra is splendid. What a fine actor! Pavail Gulati fantastically raises abomination. He is exceptional all through. Way to go! Ratna Pathak Shah is phenomenal, consummately. Geetika Vidya sinks her teeth into the character, giving it the much-required pragmatism that it necessitates. Tanvi Azmi is perfect. Dia Mirza looks every bit the character she is portraying and the effort is laudable. She essays her character with flourish. Siddhant Karnick, Ram Kapoor, Ankur Rathee and Manav Kaul are completely natural. Maya Sarao is outstanding. An actor to watch out for!

On the whole, Thappad is a purposeful film within commercial parameters that is sure to win plaudits by those who appreciate good, realistic cinema. The emotional and disturbing journey, the strength of a common woman and her relentless endeavour have all been most compellingly put together on moving picture. The best part is that the Indian masses will be able to identify with the goings-on. This gutsy film deserves a standing ovation! Just do not miss it. It is several notches above the stuff we've been subjected to in the past.

#FinalVerdict

The last few years have proved that 'small films' (in terms of costing) have big stories to tell. Also, one of the strengths of the recent success stories was their absorbing storyline, which was so well presented on celluloid by their creators. A film like Shubh Mangal Zyada Saavdhan shuns the conventional plot and brings the issue out in the open determinedly. In fact, it's a forward-thinking, avant_garde movie that holds worldwide appeal. Above and beyond, the endeavor to transport the issue out of the closet and presenting it in a light tone in the backdrop is an added move that merits acknowledgement. Shubh Mangal Zyada Saavdhan is the ultimate culture shock for Indian audiences.

Shubh Mangal Zyada Saavdhan is a comic caper, with a smart screenplay and witty dialogue as its aces. It is funny, has a lot of energy and most importantly, as you protest that Hindi movies thrive on beaten-to-death formula, a film like Shubh Mangal Zyada Saavdhan defies the stereotype and comes alive with a brand new recipe (writer: Hitesh Kewalya). The writing is airtight and the movie moves from one episode to another furiously. Original in style and thoroughly entertaining, backed by colorful characters and superior acting, there's no film quite like this one or should I say, there is no film that matches the sheer brilliance of Shubh Mangal Zyada Saavdhan. It's a top-quality comical made with guts and gusto. I can assure, you will exit the auditorium with a grin on your face.

Come to think of it, very few movies can claim to make you laugh at the right places, yet mirror the realities concurrently. Shubh Mangal Zyada Saavdhan walks the thin line wonderfully. The on-screen characters seem straight out of everyday life. The focus is on telling a story that's fascinating and enthralling. This one's armed with a fascinating premise that's nourished with care by the raconteur, magnificent act by its lead actors, dollops of humor (wicked, sparkling, smart) that's punctuated so well in the scheme of things and eye-filling production design.

While the first hour is thoroughly amusing (a few episodes are howlarious actually!), the post-interval do a somersault. Writer/Director Hitesh Kewalya introduces certain complications in the lead characters' lives, which take the familiar route and dilute the impact, albeit faintly. Also, a few episodes don't work, the pacing gets slow, the narrative is prolonged... till it gathers steam towards its resolution. The film never gets into the serious zone or melodramatic, but remains lightweight all through, which is a plus. In short, Hitesh Kewalya has cleverly written the film to suit the Indian sensibilities, which works exceedingly well for the Indian spectator.

The music & lyrics (Tanishk Bagchi-Vayu) of the film is plain okay. In terms of visuals, Shubh Mangal Zyada Saavdhan has been filmed at real locations and the DoP (Chirantan Das) captures the essence extremely well. The eye-candy locales are clearly missing here. Instead, what we get to watch are real locations and real lower middle class surroundings. Even though this is director Hitesh Kewalya's debut film, his directorial spark shines throughout the film. One has to appreciate and applaud him for paying heed to even the minutest of the detailing that has gone behind every character. However the story of the film leaves a lot to be desired. He seems very confident with the camera and its angles and is definitely one name to watch out for in the days to come. Even though the film has its 'could-have-been-better' moments, the film scores on the director's ability to extract performances from the star cast. The only problem, however, is that the film starts lagging in places, which could have been taken care on the editing table (editing: Ninad Khanolkar).

Shubh Mangal Zyada Saavdhan is a boy's film predominantly (although the women have key roles to play) and boy's films are always fun. The chemistry between Ayushmann Khurrana, Jitendra Kumar and Gajraj Rao is what makes the script come alive. In fact, I won't be wrong in stating that their sense of humor is very much in sync with each other. This is Jitendra Kumar's best work to date, no two opinions on it. Ayushmann Khurrana gets yet another demanding role and the actor, who has already impressed us with his acting skills, casts a spell yet again. Gajraj Rao is incredible. Neena Gupta is the scene-stealer actually. As a matter of fact, the performances by these actors will be the talking point once the film releases. Manu Rishi Chaddha is in top form yet again. Maanvi Gagroo has a naturally endearing screen presence. She does add 'weight' to her character. Sunita Rajwar and PankhurI Awasthy are equally competent and have an important part in the madness.

On the whole, Shubh Mangal Zyada Saavdhan is a winner all the way. In terms of content, it might just prove to be a trendsetter. In terms of business, the film holds tremendous appeal for the youth. Its business at multiplexes mainly will be amazing. Aanand L. Rai, Himanshu Sharma, Bhushan Kumar and Krishan Kumar, the producers, deserve to be lauded for treading the untrodden path. It requires courage and conviction to swim against the tide in your directorial debut. Hitesh Kewalya, the debutant director, deserves a few brownie points extra for not thinking straight. Ayushmann Khurrana and Jitendra Kumar deserve an ovation for not only agreeing to play these characters, but also infusing life in them, without making a mockery of the gay community.

#FinalVerdict

In Bhoot Part One: The Haunted Ship, debutant director Bhanu Pratap Singh tackles the horror genre with utmost care. Viewers will be struck by the simplicity of the film, its incredible fluidity: the story flows naturally, naturally. The story is not very complicated. Undoubtedly, the film is well constructed, superbly designed and filmed with sometimes a lot of indulgences. The film's decorations are magnificent and the camera embraces them greedily. To be honest, Bhoot Part One: The Haunted Ship is no masterpiece but is atmospheric, spooky, bloodless and carried by strong acting.

Debutant director Bhanu Pratap Singh defies several 'rules' of Hindi cinema, like: a) Bhanu Pratap Singh has done away with the mandatory song-dance sequences in Bhoot Part One: The Haunted Ship. In fact, the film has *only* one romantic ballad. b) There are no 'light moments' or 'relief factors' in the film. In fact, the film is so content-driven that one hardly longs for any 'relief' or 'light moments'. c) The intimacy between the couple is more mature, unlike the routine stuff.

Also, one of the USPs of this 1 hour, 57 minutes' film is that the story is set in the middle of the city. There's tremendous identification with the goings-on, with every character looking believable. The desire to watch breath-taking visuals does not surface in a film like this. When the ghost appears, you get a shock of your life. The impact is eerie. Yet, Bhoot Part One: The Haunted Ship doesn't leave you completely enchanted or spellbound. The feelings are mixed after the show concludes. You have witnessed all this (and more) and that's where the film falls short of expectations.

The horror genre hasn't been tapped to the fullest in India. What works in favour of Bhoot Part One: The Haunted Ship is the fact that first-time director Bhanu Pratap Singh chooses a real-life story and garnishes it with scares aplenty. It works with those with an appetite for horror films and also with those who seek for interesting concepts. The film is terrifying enough to make you jump on your seat. The movie teases the viewers at different points as the sequence of events unravel. Scenes remain silent and still; not for long though, but long enough to make you fret. There are ample blood-curdling moments. But the problem with the film is that it takes a lot of screen time to drive home the point, testing the patience of the viewer in the process. Some sequences are so long drawn that they mellow the impact that a few brilliantly executed sequences had created. Even the climax - so vital in a film of this genre - is a downer. It is bound to have its share of adversaries. And the finale - which leaves behind the scope for a sequel, may not be fully absorbed or gel well with the orthodox Indian moviegoer.

Also, the film stagnates for a few minutes in the post-interval portions. Though the film is short in duration, one still feels that things could've been spruced up towards the middle of the second half (editing: Bodhaditya Banarjee). Bhanu Pratap Singh shows a grasp over technique, with the lighting and camera movements contributing enormously in making the situations look eerie. But the writing is not at all convincing.

Three aces of the film are Anish John's sound effects, Aditya Kanwar's apt production design (especially the set of the ship) and Ketan Sodha's background score. They are of international quality. In fact, sound plays a major role in a film like this and director Bhanu Pratap Singh has ensured that the sound quality is superior. It's more than just throbbing music, digitized screams and high-pitched shrieks. Pushkar Singh's cinematography is appropriate. The eerie atmosphere of the ship has been captured very well by the DOP. Special effects by Redefine are amongst the best we've seen in Hindi movies. Also, Bhanu Pratap Singh's storytelling is super-stylish. Bhoot Part One: The Haunted Ship must've been quite a challenge for Bhanu Pratap Singh from the writing point of view as well.

The performances are of a high order. Vicky Kaushal enacts a role that is in sharp contrast to his image. He portrays the character remarkably. The actor delivers a striking performance yet again. Bhumi Pednekar is superb in her role, proving yet again that she's a dependable performer. Ashutosh Rana is extremely competent. Akash Dhar leaves an impression. Meher Vij and Sanjay Gurbaxani are passable.

On the whole, Bhoot Part One: The Haunted Ship does the job of scaring you half-heartedly. At the box-office, the film has chances of faring better at multiplexes of metros. A good idea gone horribly wrong! Disappointing!

#FinalVerdict

An Imtiaz Ali film is awaited with bated breath. When you have films like ROCKSTAR (2011), JAB WE MET (2007) and HIGHWAY (2014) to your credit, every step you take, every move you make comes under a microscopic view. Obviously, the expectations from Love Aaj Kal are colossal. Given a title like Love Aaj Kal, the film ought to evoke strong feelings, principally towards the second hour. But the emotional moments fail to evoke any emotion. In fact, your heart doesn't pine for the lovers and that is why Love Aaj Kal fails to create any effect.

Without an iota of doubt, you are hypnotized by the initial scenes in Love Aaj Kal, but unfortunately, it's not the screenplay that magnetizes you. The chemistry between Kartik Aaryan and Sara Ali Khan is piping hot and makes you speechless. Surely, Love Aaj Kal is not an easy film to write and execute. Like its predecessor, it has two stories set in different eras, run parallel, but have a similar end. Sadly, the script is riddled with cliches and flaws, which makes Love Aaj Kal a mundane love story that talks of love and heartache. Director Imtiaz Ali is known for his imaginative and inventive take on love stories, but the problem with Love Aaj Kal is that it starts off most impressively, has some terrific moments in between, but the writing gets so erratic and incoherent as it heads towards the conclusion that you wonder, am I really watching an Imtiaz Ali film?

With a capable raconteur like Imtiaz Ali at the helm, one expects Love Aaj Kal to be notches above the stuff we've been subjected to in the past. But the film falters after an impressive start, after you are introduced to the pivotal characters in the story. The writing (Imtiaz Ali) gets erratic as you delve deeper and deeper. The second half is stretched without valid reason and that makes Love Aaj Kal a tedious watch. Imtiaz Ali fails to outshine his previous works. Sure, he explores the emotional depths with immense compassion and also draws bravura performances from the central characters. But every film depends on a watertight screenplay and Love Aaj Kal stumbles and fumbles in this department.

In a nutshell, Love Aaj Kal suffers from a plot that appears confusing and is convoluted for an avid cinemagoer. Imtiaz Ali's direction fails to complement the screenplay and vice versa. The movie is not a regular run of the mill flick and the proceedings are clearly aimed at the classes rather than the masses. Also, music has always been a mainstay in all of Imtiaz Ali's films. But, sadly, in Love Aaj Kal, it is otherwise. Despite Pritam at the helm of things, the music, sadly, is plain ordinary and does not help in lifting the proceedings. Amit Roy's cinematography is top-notch. Every frame is picture-perfect, a painting on celluloid. Dialogue (Imtiaz Ali) deserve special mention. They are straight out of life. If any film stands on a weak foundation (writing), even 1.30 hours seem never-ending. The lethargic pacing and uneven editing (Aarti Bajaj) also mar the overall impact. The film could have been better had the editing been watertight.

Kartik Aaryan carries the most difficult parts with remarkable ease. Sure, we've seen him as the cool, urban guy in several films, but this one's the most demanding role and he glides into the character effortlessly. Sara Ali Khan looks ethereal. More importantly, she acts very, very well. This should be the turning point in her career. Randeep Hooda puts his heart and mind into every project he chooses to perform in. He is a stunner. Arushi Sharma does well in a small, but significant role.

To sum up, Love Aaj Kal is too confusing a film to be understood and enjoyed by the general public. It does not live up to the confidence and expectations from the otherwise very skilled and accomplished film-maker Imtiaz Ali. Once the initial euphoria settles down, it'll be difficult for the film to sustain. A KING-SIZED DISAPPOINTMENT! Imtiaz Ali's streak of flops continues!

As Shikara unfolds, one realizes that the film is actually based on true incidents from life. Shikara harps on being real that we have never witnessed on the silver screen before as far as Hindi films go. Vidhu Vinod Chopra seems to have researched extensively on the issue and Shikara does boast of some razor-sharp moments and the viewer gets to have an insider's viewpoint on Kashmir, something that we haven't read/seen (on news channels/films) earlier.

Shikara comes across as hard-hitting as it promises. The film has moments that are sure to bring a lump to the throat, tears to the eyes, goosebumps to the flesh and will linger in your memory much after the screening has concluded. Director Vidhu Vinod Chopra compels the audience to invest their emotions in the film and he succeeds in bringing home the Kashmir conflict.

Shikara has been filmed in Kashmir and you're awe-struck by its beauty, with DoP Rangarajan Ramabadran doing a splendid job in capturing the scenic locales on celluloid. The camera movements also give a real feel. The written material (screenplay: Vidhu Vinod Chopra, Rahul Pandita, Abhijat Joshi) just stick to realism, instead of trying to strike a balance between realism and make-believe. Honestly, in the end, you recall not just the visuals but also the content. Shikara is that powerful and hard-hitting. Even the dialogue, like the screenplay writing, tries to strike a balance between real and filmy. Hindi cinema hasn't looked into Kashmir, preferring to gaze at it instead. Also, the detailing is a marvel. This is a film you could watch with the sound muted. But you shouldn't because the music is gorgeous, underscoring the narrative perfectly. Also, the performances are uniformly stunning.

With so much already happening in Kashmir, Vidhu Vinod Chopra projects the anguish of the helpless Kashmiris with precision. Usually, such films are expressions of the filmmaker's vision and Shikara is no exception. To create the tapestry of Shikara could not possibly have been an easy task. Of course, Vidhu Vinod Chopra's repertoire shows he is capable of it but dealing with a plethora of emotions, blending them in the same film is only his cup of tea. There are no confusing hiccups or moments where the filmmaker is self-consumed. Shikara is Vidhu Vinod Chopra's most accomplished word to date! Mr Chopra, now more than ever, seems assured of the power of his content and knows when to pull his punches and doesn't fall for obvious temptations. The result is a knockout, a film that makes you smell corpses, that makes you shudder with melancholia, and a film that points accusing fingers. A film that doesn't fumble.

To sum up, Shikara is an unforgettable film that doesn't flinch and is so sure of itself that it doesn't go wrong. Everything in the film works. A film that audaciously breaks every rule in the book, everything that you could have expected from it and ends up being that edgy watch which you'll savour, while you watch it from the edge of seats! Its deliberate pacing may not work for all, but this is a solid, well-acted movie that deserves your time. There is much in Shikara that deserves a standing ovation. You will emerge from Shikara shell-shocked. And when was the last time a Hindi film did that to you?

Furious moviegoers often protest that superior stories are hard to find, yet I don't buy into this perspective. I really feel that we have extraordinary stories to narrate, but we mess up on screenplay writing, ruining a splendid story in the process. That's the issue with Malang as well. An entrancing idea may not convert into a captivating and tempting film, right?

Undoubtedly, director Mohit Suri has advanced into a smart and stylish storyteller with the passage of time and Malang bears testimony to this reality. One cannot overlook the shot compositions and the edit pattern. Malang has the unmistakable stamp of Mohit Suri. But a collage of splendidly executed sequences cannot make up for a riveting screenplay, unfortunately. That is precisely why Malang lacks the overall impact.

At heart, Malang is a game of chor-police, but the screenplay (Aniruddha Guha) fails to grab your attention after a point. Malang unfolds in two different timelines and director Mohit Suri does a brilliant job to establish what's what. But the writing (Aseem Arrora) gets muddled due to the predictability factor, after one has savoured some tremendous moments in the first hour. Although Malang is laced with just the proper amount of thrills, yet there are certain portions that put you off, that remain unexplained... It's a screenplay of convenience! Besides, too many cinematic liberties taken to establish a point of purpose also mar the impact.

What works in favour of Malang is the fact that Aseem Arora's script maintains dual-shade characters for almost every actor and is backed by exuberant performances. Malang moves at a feverish pace initially, but towards the latter portions, the editing (Devendra Murdeshwar) could have been sharper to register a long-lasting impact. Clocking in at roughly 2 hours and 15 minutes, Malang is much longer than it should be. Also, director Mohit Suri, story writer Aseem Arrora and screenplay writer Aniruddha Guha expect the viewer to grasp and figure out certain situations that arise in the film, instead of explaining it themselves, but as aforementioned, the predictability factor is a huge let-down.

One comes across a completely different Mohit Suri in Malang, blending emotions and thrills consummately. He has a unique style of storytelling, which is evident throughout the film. He merges his direction with sound-design very smoothly leaving a great impact. The highpoints include sharp dialogue and a popular soundtrack. The title track has already caught on and will prove to be a major crowd-puller. Vikas Sivaraman's cinematography is top-notch. In fact, Malang bears a stunning look all through. There's no refuting that the cinematographer has created some really alluring and enthralling visuals. The background score (Raju Singh) is electrifying. His sound effects combined with superior camera movements work really well for the film. In fact, the BGM is Malang's very backbone.

Aditya Roy Kapur is truly outstanding. He projects varied emotions without going overboard. Malang is sure to multiply his fan-following by leaps and bounds. Much of the joy comes from watching Disha Patani infuse believability into her character. She has never looked so hot, so inviting. But it's not about the looks, but talent and Disha scores on that front as well. Kunal Kemmu shines in several moments of the film. He impresses a great deal. The actor carries her part with elan, notwithstanding the discrepancies in the narrative. But it's Anil Kapoor who steals the show. He is excellent throughout and his work takes the graph of the film to an all-time high. A tailor-made role! Elisabet Elli AvrRam springs a surprise, essaying her role to perfection. Amruta Khanvilkar is in terrific form. This is one of her most uninhibited works!

On the whole, director Mohit Suri has scaled several notches above his past accomplishments in Malang. The film seduces the viewer with thrills aplenty, soulful music and of course, the crackling and wonderful onscreen chemistry between Aditya Roy Kapur and Disha Patani. The film caters more to the youth in metros than the hardcore masses in general. Also, Anil Kapoor makes Malang come alive.

#FinalVerdict

By now, it has become an inevitable fact that Himesh Reshammiya is a braveheart in whatever he dabbles himself into. You may not like him and he may not feature on your favourite actor list, but certainly, you cannot ignore him. Whenever Himesh Reshammiya stars in a film, it's got to be a musical and Happy Hardy and Heer is no exception.

Happy Hardy and Heer is a slice of life rom-com that takes you back to the times when simple stories were the order of the day with ordinary-looking people and their not too complex issues and problems. The film rests on a thin storyline (Himesh Reshammiya). Director Raka makes a sincere attempt but his striking direction is let-down by a boringly monotonous screenplay - written by Himesh Reshammiya's wife Sonia Kapoor Reshammiya - ranging from interesting to mundane to yawn-inducing. The USP, decidedly, is Himesh Reshammiya's musical score but how one wishes the super music was complemented by an equally superior script. Additionally, Happy Hardy and Heer doesn't rise to entertaining levels for two reasons. One, too many songs interlaced in the narrative. Two, the pace dips and the plot loses the steam after a point to the hilt.

Though Happy Hardy and Heer rests on a fragile plot, with the writing holding your interest at places, there are been-there-seen-that kind of situations aplenty and the narrative is laced with too many songs. Whether or not the situation warrants them, you have one track ready to unspool every now and then.

Directorially, Raka has avoided going over the top and remains faithful to the subject but he's handicapped by a sketchy screenplay. He cannot do much given the fact that there's no novelty at all. Overall, his direction is impressive. Himesh Reshammiya's music is expectedly top-notch. All the tracks are lilting compositions as well. Chandan Kowli's cinematography is perfect.

Himesh Reshammiya seems thoroughly dedicated to his craft and the composer/singer/actor goes that extra mile to get the role right. He has grown as an actor and that reflects in several moments of the film. Sonia Mann is completely natural. She looks alluring and acts well. Her confident portrayal stands out. Naresh Suri is impressive. Manmeet Singh is good. Deep Mandeep is perfect. Ashwin Dhar, Sejal Shah and Trupti Khamkar lend able support.

On the whole, Happy Hardy and Heer does appeal in bits and spurts but not in totality. The film isn't bad, but it isn't great either. Though it has a hit score to its credit, it won't work at the box-office. Flop!

Saif Ali Khan - the name synonymous with urban rom-coms - slips into the role of a trendy, uber-cool, suave and metrosexual guy with elegance. Films such as Kal Ho Naa Ho, Love Aaj Kal, Salaam Namaste and Dil Chahta Hai have already consolidated and cemented his status in this genre. That's the prime reason why Jawaani Jaaneman generates curiosity.

Youth-centric rom-com is deemed as the most dependable genre and Jawaani Jaaneman is no exception. The film is amusing, sharp, witty and contemporary. It does some serious talking as well. The efforts are worth it and the time, well spent. Director Nitin Kakkar handles the subject with utmost maturity and ensures that there are wild-whacky moments aplenty. Being an unconventionally innovative film, Jawaani Jaaneman explores new grounds in terms of story as well as execution. The fresh concept combined with ample twists and turns in the screenplay only ensure that it doesn't stagnate.

The marriage of realism with escapism as also form and content is quite evident in Jawaani Jaaneman. There are moments that offer tremendous entertainment. Hussain Dalal (Story) borrows incidents straight from life. Jawaani Jaaneman also works because the characters are so true to life and identifiable that you can't help but relate to the issue. The icing on the cake is, undoubtedly, the execution of the film and the shot compositions. At the onset, the screenplay may give you the feeling that it's all gloss and no soul but Jawaani Jaaneman catches you slowly, but firmly and doesn't leave you till the end. There's so much happening in the film every minute. A few sequences are unconvincing here and there but the plusses outweigh the minuses in a huge way.

Director Nitin Kakkar executes the film with effortless ease, handling a number of sequences with dexterity. Come to think of it, Jawaani Jaaneman is a complex film, which reflects the complexity and intricacies of human relationships. The highpoint of the film is the three sharply defined characters, besides, of course, the styling and visuals. Also, Nitin Kakkar's style of storytelling caters more to the multiplex crowd/elite/big city junta/Overseas audience rather than the aam public/hoi polloi/masses/frontbenchers. The generous usage of English will also restrict its appeal to urban centres. The humour, thankfully, is not of the slapstick variety; it's more subtle and situational. The emotional moments are not heavy either; they percolate unpretentiously. Everything that writers (Hussain Dalal, Abbas Dalal) and director Nitin Kakkar attempt to convey through their characters looks credible and relevant. More significantly, all of this is presented in an entertaining format. But the curse of the second half, which plagues most Hindi films, troubles Jawaani Jaaneman as well. The pace drops and the film starts to meander towards predictability. The second hour is half as exciting as the first. Unmemorable songs, an over-stretched story and the lethargic pacing ail the film.

It would be blasphemous to ignore the styling of the characters in Jawaani Jaaneman. Graceful designs dictate the wardrobes of the lead actors, which not only seizes your attention but also takes fashion trends frontward. Ketan Sodha's background score is classy and effectual. Manoj Kumar Khatoi's cinematography gives the film the international feel. In fact, the film has several stunning visuals. The dialogue (Hussain Dalal, Abbas Dalal) seem straight out of real-life but are wicked at times too.

Priyata Dixit casting is inch-perfect. Saif Ali Khan has that knack for rom-coms. He fits into his character fluently and leaves a deep-seated impression. He is outstanding in both emotional and light moments. The actor has worked hard on his looks and physique and looks smashing all through. The real scene-stealer is, without doubt, Alaya F, who not only looks sizzling hot but pitches in a confident performance. She lets herself loose, surrenders to her character wholly and nails the performance. It's an incredibly noticeable act. Tabu is in terrific form, portraying the role with gusto but she barely has any screen time or real purpose in the narrative. Kubbra Sait appears very confident and performance-wise, she is spot on. In fact, her character is fleshed out very well and with her performance, she makes it even more special. This is yet another feather in her cap! Farida Jalal, Chunky Panday and Kumud Mishra contribute so much to their sequences. They are super-efficient, as always.

On the whole, Jawaani Jaaneman has a single-point plan of engaging and amusing the spectators. Although the second half is not as tempting or intoxicating as the first hour. It pales when compared to the attention-grabbing first hour. Yet, all said and done, Jawaani Jaaneman is an immensely likeable film that should appeal mainly its target audience -- the youth. Go for it!

#FinalVerdict

One has to acknowledge that a dance film is particularly suitable for showing the advantages of 3D technology in the cinema, which has been in great demand for some time now. What do you ask for a dance film? A concrete story? Actors deserving of nominations in an official ceremony for their talent as performers? Not really. These points are certainly important but they represent only a little more. To tell the truth, what we ask of a film of the genre is an impeccable level of dance that makes us want each time to get up to shake our body to the rhythms of sounds. So yes, Street Dancer 3D has a script seen and reviewed hundreds of billions of times which, by the way, must fit on a postage stamp with regard to the anorexic thinness of the plot (love, betrayal, passion and all the usual cliches) but Street Dancer 3d ups the ante on the dance side, compared to the previous dance films. It is nowadays little exclusive - or a guarantee for an enriching, crushing film experience - when a film is made in 3D, Street Dancer 3D deserves all the praises it can get.

Street Dancer 3D is a dance movie every inch. Whether or not you are a fan, you will surely be enchanted. What the actors perform on screen is perfect, fresh and literally brilliant. Almost the entire 144 minutes are dancing, dancing and dancing. It's not a rule that the final number is the best, but here it succeeds. The film has all the trappings of a commercial Bollywood potboiler. The dance scenes are even more spectacular, artistic and expansive, cinematography even more musical, the entire film even more pop, more colourful and more fun.

Director Remo D'Souza doesn't care that he is not an intellectual high-flyer, he knows that his strengths lie elsewhere. He draws his strength from his heart, and the honesty with which his film operates is sometimes disarming. As for the story itself, nothing new awaits us. You know it: love, betrayal, last-minute arrivals and everything is coming to a happy end. But Street Dancer 3D impresses in its many dance numbers, in reckless breakdance steps and in prodigious choreographies that challenge the possibilities of human anatomy. Remo D'Souza knows where to put the camera so that each dance step is emphatic, powerful, but he is incompetent when it comes to bashing a story. Remo D'Souza is one of the promising and talented filmmakers in Bollywood, as he has a direct relationship with dance, which ultimately helped him excel as a filmmaker. You will not see this movie and judge it negative for its weak script or for the protagonists who do not have the brilliance of some great talent. Personally, I found it more striking and visually enjoyable experience than some of the recent dance films but poorer in intrigue as it follows a crude and clichéd recipe with almost no surprise. Nonetheless, it's definitely not for pseudos or advocates of arthouse cinema.

Although screenplay writers Tushar Hiranandani and Jagdeep Sidhu come up with several knockout sequences. But there's no denying that the screenwriting deviates into the conventional and foreseeable zone. While the film makes for a wholesome entertainer, it is the second half of the film that qualifies to be better than the first, as Remo D'Souza resorts to cliches to carry the story forward. Besides, the film is stretched by at least 15/20 minutes. Thankfully, the narrative gathers steam once again towards the closing portions and the finale is simply breathtaking, which will be greeted with seetis and taalis. The director has also used the added advantage of technology/VFX to keep things visually exciting for the audience at all times.

Remo D'Souza shows ample growth and confidence as a storyteller. A few emotional and dramatic moments are the mainstay of the enterprise. Remo brings alive estimable vigour, energy and imagination on the big screen. He blends the emotional quotient with dance and music and presto! You can't take your eyes off the screen every time a dance breaks out. The winsome soundtrack also compliments the theme of the movie. The choreography (Kruti Mahesh, Rahul Shetty, Tashan Muir) of each song and dance piece deserves distinction marks. It's truly inventive. Vijay Kumar Arora and Tushar Kanti Ray's cinematography is perfect - capturing the gloss and grandeur to the minutest - which accentuates the impact of several scenes, especially the dance pieces. Manan Ajay Sagar's editing should have been spruced up. Sachin-Jigar's background score is a bit loud but in sync with the film's mood.

Now to the performances! Prabhudheva, regarded as the dance legend by many, is expectedly, incomparable in dances, but the good news is that he handles the dramatic scenes well too. If you thought that playing to the gallery came easy to certain actors only, watch Varun Dhawan spin magic in Street Dancer 3D. He's magnificent, the star attraction, the soul of this film. Shraddha Kapoor comes as a whiff of fresh air! She looks like a million bucks and is a treat to watch. Nora Fatehi delivers a power-packed performance. Aparshakti Khurana impresses immensely. Punit Pathak, Salman Yusuff Khan, Raghav Juyal, Dharmesh Yelonde, Sushant Pujari, Caroline Wilde and Francis Roughly have played their respective parts competently. Zarina Wahab, Murli Sharma and Manoj Pahwa lend able support.

To sum up, Street Dancer 3D does have a strong message to send across to its audience but the haphazard writing combined with a huge number of songs, dance sequences and battlefield banters thrown in after every five to seven minutes fail to stitch the film together in an organised way. Still and all, Street Dancer 3D is an impressive dance film, which weakens a bit in the character drawings, but is far ahead in all other respects. A paisa vasool entertainment that will have the audience thirsting for more! The film has its share of moments that stay with you, especially the concluding portions. Smash hit!