Satyagraha solely documents and offers fleeting wisdom. It succeeds at highlighting the problem but fails at achieving poignancy.

To sum up, Once Upon Ay Time in Mumbai Dobaara is a better crafted film than it’s predecessor but unfortunately considerably shallower. It’s style keeps you reasonably occupied but for a runtime of 160 minutes, it needed a lot more substance.

An individual opinion in such critic-proof films is like a smashed up secondary car in a Rohit Shetty convoy: it amuses momentarily. Deepika Padukone is perhaps the best reason to watch this movie and her absurd accent only adds to her charm. Of course it only works when the dialogue is comical. Imagine how everything derails when she talks like that in emotional scenes. As for Shah Rukh Khan, one hopes he smashes all box office records so that he may take a moment and consider doing a film along the lines of a Kabhi Haan, Kabhi Naa, Swades, or a Chak De. Films that were not about the math.

When the plot comes to a cul-de-sac three-fourths the way in, it’s almost as if some other film starts and needlessly stretches a secondary track to a primary climax and closes the romantic angle as if it were an afterthought.

Set in the days leading up to the wedding, RMKK has all the buzzwords that could describe quintessential Bollywood: meaningless songs, misogynist themes, homophobic sequences (‘normal’=straight), lack of drama, predictable plot, contrived (and misguided) redemption … it’s all there.

Nasha unselfishly makes an attempt to stay away from unnecessary sex and tell a story, but ultimately, like school in summer, it’s not got class.

Issaq requires tremendous effort and patience to get through (let alone like), and in the end, it is simply not worth it.

…it ends up as an unconvincing, unfunny, and yet another movie looking to cash in on the Delhi-milieu wave.

It’s a dam burst of cliches.

Perhaps Sixteen tries to appease to one audience too many. Teens of course, who will seek empathy in the story and its characters, but also adults. Here the filmmakers try to interpret teenage thoughts for those who once when through it themselves but only have a few selective memories to latch on and laugh off. The times have changed too of course but despite the modus operandi turning to technology, the basic principles of teen angst hasn’t altered much. Hormones still rage, vices are still cool, but all teenagers eventually come of age.