This film is breezy with light romance, and slight humour for the most part, and the lead actors, perfectly paired, add a touch of both. This is what teenagers packing into the theatres seem to have been drawn to. Beyond this, the film seems strictly okay

Forget good, there is hardly any music in most of Rock On!! 2. Save in the many flashbacks and in the needlessly protracted climax. The songs and melodies, instead of being well knit in the narrative, seem to stand jarringly outside of it. There is a wisp of a story, narrated in large chunks through that easy, lazy device — a run-of-the-mill voiceover.

Why do we talk in terms of first-half, second-half? Because this is a Hindi movie — the best of which dip after the interval. You step back into the theatre, and realise, woah, this is one of those rare Bollywood movies that needn’t have existed after the interval at all. Absolutely nothing happens. Besides Devgn, who we know is happening anyway. So you sit back and enjoy Shivaay. Just please don’t ask why!

Banjo’ packs in so many hero-villain, poor-rich type clichés, and so much melodrama, from the time-tested rule-book, that even if you didn’t bother watching the film, you’d know what happens. Yeah, you’ve been there, seen that; why watch this same kinda picture again?

You only wish so much thought had gone into the OTT script as well. Bored out of my wits, watching these good fellas with hardly anything significant to do, I could only feel a slight kira (insect) up my bum — desperately itching to go home.

I’m merely glad this is at least an attempt at big-screen entertainment aimed purely at kids. How many homegrown options do we have anyway? Most adults, I’m afraid, won’t give a flying duck.

This is the sort of desperate comedy that basically takes the Keystone Cops’ style of ‘everybody is running around each other’ kinda humour a bit too far. To be fair, one can still see how this must have read well on paper. Some lines are absolutely first-rate. A few funny scenes really hold your attention.

There isn’t as much wrong with this film as the fact that you wonder what’s good about it. By the end of the film, you will be spectacularly bored by this humourless spectacle. And the question in your head is less likely to be: ‘What is going on?’ and more likely to be, ‘Why is this going on forever?’

At some point, inevitably, the cinema screen in the dark hall starts competing with your little cellphone screen. Which is only fair. As our phones get smarter, our humour clearly appears to be getting dumber.

This movie appears instead as some sort of a long explanation to the world, delivered by the corny looking Emraan Hashmi, on behalf of Azhar, setting the record straight—if not on the match fixing scandal, then on his extra-marital affair with a Bollywood actor of the time, Sangeeta Bijlani (Nargis Fakhri), and his first wife (Prachi Desai) adding to the over-the-top sob opera. Now really who cares? Okay, I hope for the filmmakers, plenty do.