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.

BA Pass is dark, even for a noir. Scenes in the sunshine come as a relief from the murky depths of a landscape that’s Mukesh’s hell. There’s almost no positivity in the film. Nothing to cling on to when you’re done. This is a rare experience in a Hindi film.

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.

Ship Of Theseus’ great victory is that it got made at all. It is content that you’ve seldom experienced on a big screen. Celebrity backing, studio support, and a proper release gives hope to the next generation of storytellers who want to express themselves and reach the world.

Following up on his exceptional Delhi Safari, Director Nikhil Advani continues to reinvent himself with D-Day, a well-crafted, violent drama balanced with an introspective mood that can loosely be indexed under historical fiction.

It’s a dam burst of cliches.