Table No. 21 should be watched for the reactive social commentary that it is, and should not be misconceived as a vigilante film.

Films where the hero assumes another identity to win over the girl, and that uphold traditional family values, are part of the contrived clichés club and no longer relevant.

Makkhi could have been a far more engaging product had it eliminated the last 20 minutes which just stretch out the film. A suitable closure could have been achieved earlier.

It’s a scary mix that makes for an unbearable mess. Stay safely away.

Aalaap could have been better if it provided some critical evaluation of the situation by first time director Manish Manikpuri, instead of passing judgment on Naxal politics.

As it is, it is a forgetful film laced with vulgar dialogues that pass for humour, worn out production values and acting that will make you cringe.

Percept Pictures’ untitled film, known only as ? opens along the same lines as The Blair Witch Project but, unlike that hauntingly classic footage, this one doesn’t quite live up to its promise.Part of the reason is the director’s decision to deliberately stay away from blood-and-gore, probably to evoke more of a psychological scare than a visual one.The best that can be said for this unimaginatively titled experiment is that it attempts a new genre in an industry devoid of path-breaking technique or content.

Miley Na Miley Hum is a film where nothing works, and nobody benefits (that is, if you don’t count random product-placements).

Though the film shows remarkable restraint in certain scenes, it is over-dramatic in others, which kills the flow. The musical interludes, fairly relevant for once, are too many.

Tere Mere Phere passes only in persistently bad acting and that it does by distinction.