• The only reason you’d want to watch Rajjo is if you’re an obsessive Kangana Ranaut fan. She’s like an elf amidst a sea of unflattering faces, and – almost literally -lights up every dingy frame. Otherwise rent yourself a copy of Salman Khan’s Baaghi, a superior movie with a similar theme.

  • Sanjay Leela Bhansali is back. Taking a break from producing uncharacteristic bilge like Rowdy Rathore, he storms the helm again to have a go at what he knows best – using Bollywood elements like song, dance, larger-than life heroes and their epic love affairs -and attempting to redefine the form of Hindi movies and telling them in his own auteur style.

  • Satya 2 didn’t need to be called Satya 2. There’s no connection to the original Satya whatsoever. If anything, christening this film Satya 2 is a sign of Ram Gopal Verma’s despair; trying to cash in on the film that made him a true force, a distinctive voice in Bollywood that heralded change in the mainstream, indeed created a genre.

  • If only Khanna had not taken a populist script and tried to put his non-commercial spin on it, Ishk Actually might’ve still been saved. Now he should try taking out the songs, the score, the poetry-ridden dialogue, and re-edit it down to 75 minutes complicating the logic further and start sending it to film festivals for instant success.

  • The problem lies in execution. Mickey Virus tries too hard to straddle the two worlds of cutting edge tech and laid-back teeny Delhi in a Bollywood film. This results in “hacking” that looks as if Andy Warhol designed the VFX.

  • Unlike lead actors in Hindi films who attempt to shine through their sheer energy, or by underplaying, or simply carrying off a certain look; Raj Kumar Yadav bares his soul like few others have in the past.

  • I’ve had my fill with these South Indian action-comedy remakes and I suspect you have too. But it is said the customer is the boss and it is ultimately your decision to buy a ticket or not. If Akki slapping around a few people makes you feel any better, go for it.

  • Baat Bann Gayi tries hard to create a world that requires some serious suspension of disbelief on the part of the audience. But fails miserably and the characters of the film come out looking foolish.

  • Technically, the film scores high marks. A lot of it is shot in the dark, always tricky.
    …War Chhod Na Yaar would’ve been a considerably better film if it were more balanced.

  • Besharam is just one more in the pile of masala excess. There’s nothing new here.
    Filmmakers and stars should realise that a formula done fifty times over is not a similar golden egg-laying goose. The only motivation behind Besharam is to devise a hit– to work a spreadsheet and spit out receipts worth Rs 100 cr at the box office.

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