Out of place wit, flimsy motives, clumsily picturised songs, dispensable characters, phony instances of adultery and a parody of a climax ensure there is no hope for Dhulia’s depthless, disappointing, drama.

As a remake of Sairat, Dhadak is a travesty.

As a standalone, Dhadak is standard Bollywood boy-meets-girl drivel.

As a showcase, Dhadak is a promise that will take some more effort to fully fulfil.

Kareena’s restraint around the wedding hysteria bubbling around her, Sonam’s airheaded optimism, Swara’s crackling profanity and comfort for innuendoes and Shikha’s talent for naughty wit comes together to say it’s not a big deal for women to talk and do as they please.

If only Veere Di Wedding actually believed it too.

Every single gesture is overdone and extra boisterous like Bachchan’s inflated exuberance and screaming prosthetics, reminiscent of the 1970s when he’d masquerade as a grey-haired old man playing to the gallery. It was phony, but so much fun.

This one’s more 102 and not quite.

A wishy-washy hotchpotch of horror and comedy — like the recent Bhootnath, Phillauri and Golmaal Returns — it flounders in finding a harmonious balance between two contrasting genres.

Alternating between brat and boy, deception and decency, Ishaan Khatter speaks with a passion that will be heard Beyond the Clouds…

The monotony is awfully exhausting and drab in the absence of script, craft and nerve-racking unpredictability…

The best thing I can say about Baaghi 2 is it does have its moments of ‘so bad it’s good’ gratification in Prateik Babbar’s hammy dope head, the babyish wailing of a constable assisting Hooda and Tiger’s bizarre boss, the guy could put caricatures to shame with his ‘The war is over’ solemnity.

What a circus!

You believe in the brilliance of Rani’s sparkling intelligence and physical stamina through the arduous journey of straightening an unruly lot and braving a barb-ready rival sniggering at her methods — Neeraj Kabi’s starchy, suit-clad, teacher is Narayan Shankar to Rani’s nonconforming Raj Aryan.

But the vexing obviousness and self-pitying texture of the narrative cannot be justified by playing earnest.

And that’s one syndrome Hichki never gains advantage over till the end.

Dil Juunglee may reward his conceit for jumping into the water, but that won’t wash his sins away or make suffering fools a love story.