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.