Through cross cuts, the cyclical nature of the narrative expresses itself. You don’t really need to be physically present to express your love. Here it come through the washing and cooking that one does for the other and in between both of them yearn for that meeting that happens at the end of the day. Or is it at the start of the new one! Sengupta has given those moments a dreamy treatment but even in that reverie the couple doesn’t lose touch with the ground. Have the pressures of job turned them mechanical in their romance? Oh! Not quite. It is as tender as the first kiss. Go check!

Remo has invested his whole cinematic vocabulary on dance and is left with only ABCD when it comes to the emotional choreography. At one point of time Suresh tells his sweetheart, ‘why do you take tension? You know how it is.’ This perhaps echoes Remo’s advice for the audience.

It has enough for the 13 year-olds in all age groups to embrace the dinos but it suffers from the similar corporate excess that it suggests to guard against.

The director tries to restore the gravitas, the pathos that we associate with romance and takes on the deep-seated patriarchy along the way.

Anil Kapoor is an absolute delight as the self-obsessed and manipulative Kamal Mehra and he is ably supported by Shefali Shah as the ostrich wife, who ignores being getting ignored. But the film belongs to Priyanka Chopra and Ranveer Singh and they excel as siblings who stand for each other. For once Ranveer channelises his energy well and Priyanka goes beyond the pout to embrace a character that every much like the film is a gorgeous cross between stupid and smart.

Arshad knows this terrain well and in the absence of any challenge he repeats himself. Unlike Kedar’s father in the film, Jackky’s producer father hasn’t lost hope in him and Jackky does try to lift his game as the moronic character but is let down by an inspired writer, a lazy editor and a director who has taken only baby steps since Khiladi 786. It seems like the aeroplane in the climax, Kedar and Shammi have taken the reins of the film!

Every dialogue is dipped in the treacle of delicious North Indian dialects and the lovely nuances of the region will stay with you long after the credits roll. But their biggest victory lie in the fact that the coincidences that threaten to spoil the party and the leaps of faith that feel like heading for a dead end don’t go beyond the realm of intrinsic logic.

The Indo-Canadian co-production promises to be a stirring depiction of the plight of illegal migrants to Canada. It is indeed a tale of survival in the globalised world but the perils and the ensuing threats don’t fall in place naturally. They rather seem manufactured by smart editing.

A visceral reboot of a franchise that tries to rise above the fun and frivolity of a summer blockbuster and largely succeeds.

midst all the attention on detailing of the costumes and computer generated imagery, the screenplay loses direction. While the motivations of two rival newspaper barons are clear their actions get just short of ridiculous in the second half. From blackmail to look alikes, the film threatens to become a potboiler of the ’70s. Ultimately, the writing affects the performances as well. Balraj’s return to the boxing ring after each turmoil in his life is gimmicky.