The film is ridiculous, funny and a wild ride, and it’s really hard not to be swept away by its infectious energy.

Director Katariya keeps things very simple, yet entertaining and relatable. If you’ve had first hand experience with a situation like the one in which the film’s lead couple find themselves, they’ll find enough to appreciate in Dum Laga Ke Haisha. For the rest, it’s a chance to revisit a lost decade and revive our interest in Yash Raj Films. It’s good to know that the production house that brings us over-the-top spectacles like the Dhoom films can make something small, hilarious and straight from the heart.

The question of comparison to Ek Haseena Thi and Johnny Gaddaar is irrelevant. Badlapur is the kind of film we need more of, and also the kind of film that you need to see. It’s in theaters now, so if you want to see a change in the quality of Bollywood products, buy a ticket or two.

Love, Rosie is as stock and clichéd as they come. It neither surprises nor disappoints, it just arrives and leaves without making you feel anything. It is a zombie of a movie, but at best it is harmless and at worst humourless. One fascinating aspect of the movie is how Lilly Collins, a reasonably talented actress, continues to choose turkeys. Hugh Grant, however, would raise an eyebrow at Claflin’s dialogue delivery, if only the latter was as funny as the former.

You can laugh with the movie, and more so at the movie. It’s a win win. I reckon the censor board wanted to ban the movie for being too awesome. There is literally no better way to spend your valentines day than taking your date to watch the Love Charger.

At two and a half hours Roy is a slog to sit through with too many unnecessary songs and diversions and not enough meat to either thrill or entertain. If you’re in the mood to watch a ‘film within a film’ and a character crossing over from reel to reality, a better recommendation would be The Untitled Kartik Krishnan Project.

The strange thing is, there is a lot of talking in the movie, as if the filmmakers want us to invest in the characters. As a result, there are only three action scenes in the film, and it becomes a real slog to sit through 80 minutes of boring characters blabbering for just 10 minutes of a** kicking. On the bright side, a couple of stunts are in slo mo, probably a first for Statham.

This is a film made by a true artiste about a true artist. And in many ways, it’s better than ‘Big Eyes’, the other art-based film of the year, and is certainly deserving of more Oscar nominations than it actually scored.

It’s frustrating that the filmmakers who so effortlessly adapted the complex Cloud Atlas to the big screen managed to render such a derivative, noisy and forgettable action film.

Sadly, the majority of the film is too serious to be campy and not campy enough to be fun, and neither bad enough to be a recommendation.