Gandhi’s ruminative subject, catering to art-house cinema lovers (has won critical acclaim in international film festivals), is deeply layered and beautifully intricate. He doesn’t compromise artistic depth for commerce, even for a moment, though the story-telling is not without flaws. The pace is exhaustingly slow and scenes monotonously long. This idea could be compressed into smaller ‘lifeboats’ and still sail safe. The monk’s deeply profound story stands out.

Cinematography is ace (Binod Pradhan); the music (Shankar-Ehsaan-Loy) heightens the drama. Prasoon’s writing is powerful, lyrics are pure poetry and emotions robustly sweep the scenes with few dialogues. While there’s a lot to marvel at, a hint of the director’s over-indulgence in the art, results in a long ‘runtime’ and prolonged scenes that distract.

The story has newness, but at times it lacks the chaotic craziness that such a comic premise can unfold. Yet, the laughs are many to keep you entertained. So what the ‘fuk-rey’, go, crack up on your seats.

Overall, a simple story that stays pre-pubescent and doesn’t quite grow into the high-school of stories.

This could be good soup for the lovers’ soul – with a dash of old-world flavour.

This is no Shakespearean act, but there’s enough drama, demons and devtaas to rival our desi phantoms of the operas.

This may not be Tigmanshu’s best, but it’s a movie with more balls than most cinema can flaunt.

The first half ghost-walks into a comfort zone (with songs, romance et al); while the second half terrifyingly twists, with raging emotions and shuddering shock value.

The screenplay is average and it waits a while to take-off. And we wish it had a bit more ‘Ram Leela’ (read: drama in bhai lingo), but overall it entertains.

This movie isn’t about the A-to-Z of dance; but if there’s rhythm in your body this one will move you. To the nearest floor.