The problem is, be it emotion or action, Karan is in no hurry to say cut. At times it works for the emotion to seep in but many times over elaboration dilutes the punch. The music is a let down.

…ultimately it is not about performances, it is the uneven writing and ham-fisted treatment that lets this potent idea down.

On paper it belongs to Ajay but on screen it is Tabu who walks away with it. And even when she is effortlessly seeking attention, the underrated Rajat Kapoor excels as the husband who retains his sanity amidst the moral chaos.

Watch it for them, watch it if you haven’t watched the original.

It has both humour and physical intimacy but unlike most indies it doesn’t flaunt metaphors to seek the eyeballs. It celebrates small joys like the value of kheer and what it means to be the youngest in the family. And yes, it doesn’t blink when it comes to the crunch.

Part fun, part froth, Ant-man fails to soar beyond its central conceit.

A sweet gift from Salman this Eid that loudly underlines the acceptance of others.

The film smartly plays with the fear of future where given a chance the mother doesn’t want to mate again because she knows what her son has become. It is this magic realism that makes a fantasy play with your realistic fears.

It is these characters and performances that keep us engaged when the writing loses its bite. Not as jolly as Kapoor’s last outing but has enough meat to last a meal.

The chapter doesn’t teach us anything new but it has serviceable characters and scares to keep the teenagers occupied.

From religious manipulation to gender politics to caste dominance, it reminds of the bizarre forms unbridled power can take. And Arjun’s parents and grandmother reflect the helplessness in face of this brute collation of political and money power without getting melodramatic.

Its dystopic feel reminds of Manish Jha’s “Matrubhumi”.