It’s the kind of film that makes you discuss a lot—as you can tell! I will watch it on TV again. As you must watch it in the theatre,once, for sure.

The authenticity in the writing (Himanshu Sharma) is perhaps the reason practically all the actors in the film (most notably Deepak Dobriyal) leave a mark. The wit and repartee is absolutely top class.

Is this film about post-marriage issues a mainstream escapist fantasy still? Oh yes. It’s a complete mad-cap, rom-com romp. Manu starts off being diagnosed as clinically insane.

For a moment if you disregard this pic’s massive budget, it does not even count as director Anurag Kashyap’s most ambitious work. The inter-generational saga Gangs of Wasseypur (2012) was—both in its scope and scale. A strong voice-narration (often perceived as lazy writing) wonderfully helped piece together that 320-minute film. There is none of it here. It probably looks messy as a result. God knows it’s tough to keep it simple.

More than anything else this comedy got me slightly emotional thinking about how distracted we get by life in general that we often begin to take our old folks—parents, grand parents—for granted. We get far too edgy and impatient sometimes dealing with their old-age idiosyncrasies. God knows, at some point, they will be no more. And we will miss them forever…

This is a super hero film. Like all Bollywood super-star actioners are. The hero is expected to make a dozen men fly and eat dust with one stroke of his arm. That fauladi arm, as you know, belongs to Akki man. This means, as you might have also guessed: The presence of no one else matters on the screen.

The stories eventually boil down to common emotions. As does this film’s. Yes, there is a lot of pathos. But there is much joy. And enough empathy. By the end of it you want to go get a margarita with Laila. How does it matter if she drinks it with a straw? She’s just as much fun. Yes, so is this picture.

Popular entertainment, or a lively, mass-oriented film such as this, is perhaps our most potent counter to a frightening intolerance. That fact alone makes this a very important and brave film. I suggest you head to the ticket counter for sure.

I’m actually stunned by the reincarnation of Ms Leone, or Karenjit Vohra, ex-pornstar of Punjabi descent, herself. She’s come a long way, baby. If you needed any further proof that she is really a bona fide, solo Bollywood star, it doesn’t get any bigger than this. Does one need to sit through a whole mumbo-jumbo picture to appreciate that? No.

Between the two main characters the movie collects enough material not only to flit between various timelines (that we’ve been going through anyway), but also between various possibilities of what could happen in various scenes. We basically keep going back and forth and back…. The movie has nowhere to go. I’m sorry at some point you’re just desperate to go home, and maybe catch this on TV instead.

While this one also gives off the feel of a horror flick, it is essentially a thriller. The number of coincidences in a plot is obviously inversely proportional to how credible the story seems. There are quite a few coincidences here, and an equal number of moments where some suspension of disbelief is a must.