Despite all its shortcomings, I didn’t mind the subject approached. Better getting excited about a film on the subject and being disappointed than not to have a film on the subject at all.

Relatively more coherent. Still doesn’t make it any more enjoyable. Madcap story but no laughs. Thankfully not too slapsticky, but all the drama is a downer.

It is strange that Tubelight has so many things to say and yet felt like it said nothing. I don’t expect to be impacted by the manner in which issues are raised. But I expect the makers to at least try. It actually felt like, they thought what they saw on the paper had loads of mean, but when they got down to making the film, they lost faith.

Given the one line plot of a love story that is as standard as it gets, it boiled down to the angle this particular premise takes on the plot. That no man really wants to treat women around him as sisters sounds more like a frustrated rant of a many-year-old, suppressed angst. Now, would that motivate you to watch the film?

The decision is really easy. Pass this one, unless you have sworn to watch every single Amitabh Bachchan film. Yep, if you are the regular fan, you can easily give it a miss.

The visuals are mesmerizing. You get an inkling of the scale as the censor board certificate is followed by an endless list of partners. The patient wait for the film to actually begin is well worth it. The opening credit sequence itself made me wish I had opted for the IMAX tickets, even if it was double the price. As I saw the film progress, I didn’t think I would have regretted the decision, though I didn’t mind saving the ₹250 – because ultimately, the want for a solid story always dominates.

It is difficult to say if I’d have enjoyed Noor better if it were more focused on one or two aspects of life that it picked to comment on. The lectures in the second half were so full of themselves that it is a task to be objective about the film and imagining Noor without them.

…the pace of the film could have been forgiven. But, it is difficult to forgive no pounding hearts in a thriller. When the protagonist feels too safe, nothing can make you worry about her, can it?

Movies like Phillauri make me wonder about talented actors, producers with a said vision, music, special effects – some bits underdone, some overdone and some like story – not done at all. And how not all departments put together can compensate for the one that is way off the mark.

Badrinath Ki Dulhania seems to go about it rather lazily – taking the simplest “next steps” without a introspective and/or an exploratory eye at, what real life dowry cases or cases where a woman is held down, look like.