Director Kabir Khan admitted in an interview that the objective of this cinematic tribute was to make the inspiring story accessible to a larger audience. And while Salman fans across the world would make for a substantial target, inflicting them with this preachy tale of leaning on ‘yakeen’ to get through life could be a tad misleading. But then again, we’re addressing hardcore Bhai fans, who feel that hanging one’s shades over the back of one’s collar is the path to ultimate glory.

This could’ve been a breezy love story but it takes itself too seriously and ends up like a masala khichdi with aspirations of being a risotto.

While most gags fall flat, Lee is decidedly bad enough to be good in a dream sequence where he shakes a leg to “Jumme Ki Raat” (Kick) — like a freak reality show contestant.

This one’s worth a watch only for Akshay Kumar. But if you’re looking for laughs, Esha Gupta could help too.

Director Rajeev Jhaveri attempts a Hollywood-style narrative with conviction but underestimating the audience’s intellect and oversimplifying the plot makes it a tiring watch.

When you sign up for an Arshad Warsi movie, you expect mildly amusing one-liners, a couple of thumkas and, perhaps, a few well-placed punches to wrap up the proceedings. But this one barely delivers on either.

Dishoom jabs a hole into every action thriller ever made and packs in tested tropes – like two unlikely cops paired together for a mission to save someone of national significance. Harbouring much contempt for each other initially, their misadventures ensure that much bromance brews before the director calls it a wrap. Just like every other Will Smith or Bruce Willis or Chris Tucker movie.

At some point, Figs’ father (Tom Alter in an ill-fitting suit) shared, “You need to stop running if you want to find what you’re looking for.” For the audience, the answer lies outside the screen.

Only one piece of advice for those rushing to catch this: carry along a chastity belt. It would be useful only if worn over the head, covering your eyes and ears.

Veteran Ashutosh Rana is mostly contained and Jimmy Shergill is controlled in his insults. But Turkish debutant Suha Gezen is a bit too loud by average sonic standards of someone grieving multiple setbacks. A highoctane dialogue in the film reinstates the supposed moral of the film, “Dangon mein Hindu ya Mulasmaan nahin marta, insaniyat marta hain.” While this is true, watching this film till the very end can be terminal for audiences of all religions too.