With a weak script to begin with, a story that loses the plot from the word ‘Go’ and an unmoving narrative, director Aditya V Datt seems to have failed in his ‘marriage proposal’ to the audience. The attempts to elicit a few laughs by stereo-typifying the gay community is not in good taste. After a while, we begin to gag on the gags. Accept this proposal at your own risk. This is one marriage that’s a bad idea.

London Paris New York is a sweet story that deals with very real emotions. It is urbane, cool and thankfully, not dated. The simplicity of the dialogues makes it enjoyable. It deals with the trials and tribulations of the youth, and the complexities of finding real love. It probably won’t move you to tears, but one thing is for sure — after traveling across the globe, this one won’t leave you jet-lagged.

Breezy romantic comedies generally thrive on witty dialogues and the chemistry of the lead pair. And Tere Naal Love Ho Gaya does have some crackling gags and one-liners. Tere Naal Love Ho Gaya is one of those movies that you like for 10 minutes and then don’t for the next 10. The cycle continues for long. But the climax is fairly engaging and the man who makes it happen is Om Puri. His rousing speech is what gives the movie its last burst of vitality.Tere Naal Love Ho Gaya is passable popcorn fare.

At first glance, Jodi Breakers has a lot going for it: an unusual and interesting lead pair, fabulous outdoor location (Greece, in this case) and foot-stomping music. But the movie is let down by a script that lacks fizz and connect. Director Ashwini Chaudhary’s venture begins as a comedy but gradually morphs into romance and loses momentum in the second half. Jodi Breakers isn’t entirely without merit though. Madhavan is earnest. And Bipasha looks stunning. Together they try to make the film better than it actually is. But it simply isn’t enough.

…a film generously littered with cuss words and a titillating scene where a female cop feels up the leading lady. Single-screen theatres might yet find some viewers.

It is sad that the film does not mention the name of the actors and technicians in its credits to emphasize on its ‘fake’ authenticity. Even the name of director is given as the guy who “compiled the footage”. Nonetheless, go and drench yourself in fear. Couples watching the film might find themselves clinging to one another for reasons other than love.

He sees her for the first time on the street, walking slowly towards him like poetry in motion. She is dressed in a black sari and matching blouse; her pitch-dark hair caressing her body. And in that singular moment, Sachin (Prateik), a mechanical engineer who wants to make movies, is transformed into a butterfly of uncontrollable desire. He is smitten and finds himself walking on air.

Innovatively lensed, partly in Diu, Agneepath is a visual delight. But there’s no greater feast for the eyes than Katrina Kaif, who shakes and trembles in delirious delight to the aptly-named track, Chikni Chameli. It’s a paisa vasool performance guaranteed to make millions of men happy, and not just in small-town single screen theatres.

In director Tigmanshu Dhulia’s biopic, Paan Singh Tomar, the two worlds collide. And the result is a rather exquisite blend of drama, humour and tragedy; altogether eminently enjoyable good cinema. In a country obsessed with overpaid cricketers, a biopic on a former national champion athlete is reason enough to celebrate. But Dhulia’s film is much more. It is one of superbly crafted film that underlines the linkage of life, sports and society.