Super Nani was a super boring film. An atom out of the goneby years, this film is more of a mockery of the Biwi Ho Toh Aisi variety of plotlines. I laughed my guts put at the sheer display of lameness for most part of the film, and by the time the end credits roll, you will be disoriented enough to make a dash for a med store. Disprin, please someone. I am going with a lenient 1/5 and only for the film’s strong protagonist who pulls off this dismal affair with a lot of grace.

Happy New Year is a muddled mess which has its own warm moments but as a package fails to work. Three hours of Shah Rukh flaunting his abs and swagger gets too much to take minus a strong storyline. Farah Khan has redeemed Tees Maar Khan but Happy New Year is her most mediocre work. It’s a magnum opus which is pretty much hollow from within and remains an all frills, no thrills show.

Sonali Cable doesn’t offer much in terms of cinema. I do get what the makers were trying to drive home (a theme bigger than the purview of this film for sure) but a tiresome narrative doesn’t yield much goodness. Once out of the theater, it is the kind of film that will make you feel why did you waste your time. Filled with wrong laughs, false frills and a build up that doesn’t make for an enticing climax, Sonali Cable‘s underdog story doesn’t quite work.

Ekkees Toppon Ki Salaami is not a work of genius but is earnest at what it does. Anupam Kher’s performance shines and though the plot has its peaks and lows, the story’s soul wins eventually. You can give it a try because it isn’t cinematic beat but definitely a story that should be. Discrepancies and logic lapses aside, you won’t exactly hate the film.

Bang Bang is a plain film that is mounted on a breathtaking canvas and remains steady at the superficial level only. Low on logic and more on frills and airs, the best thing about Bang Bang is Hrithik Roshan. He sincerely drives the film with his swagger and hot bod droolworthy looks, with Katrina aiding him with her cutesy innocence. But the lack of inventiveness in Bang Bang irks me. When I am done with ogling at the stunts and stars, I have nothing to remember it by.

I can watch 3AM once but it is no fun. Hardcore horror enthusiasts won’t even entertain the film because it is all textbook matter sprawled on celluloid. The film resorts to expected Ramsay props of Kaala Jaadu and more, and that’s where the tapestry thins beyond recognition. I did not loathe the film but it is no genius, not intelligent, nothing pathbreaking and borders on staple.

I wish I could be kinder just because the film is a well intentioned one. But sadly, despite good intentions it is a bad film that has poor dialogues (repeated use of the word ’Dabangg’ for some joy), technical discrepancies, a weak climax and unconvincing, conveniently done narrative.

Daawat-E-Ishq dodges you with tall promises of serving a great food film or even a good film. But it’s diet food variety of cinema that is neither healthy nor nutritious and leaves you famished by the end of it. Parineeti and Aditya despite their earnest performances cannot bring the needed charm to the film. I am going with a very generous 2.5/5. It had a lot of potential but the feeble sketching makes it a forgettable watch.

The cinema child inside me was bruised that I could not bring myself to like Mary Kom. As a woman, I deeply respect her and draw inspiration from her. But the film that was aspiring to reach her story to millions falls prey to mawkish ways that tells a half baked, semi-impactful, immature story that doesn’t allow you to empathize,feel for or connect with the subject they are paying tribute to. The film was a business vehicle that was made to draw money than to create good cinema for posterity sake.

Raja Natwarlal dropped way below what was expected of it. Besides Paresh Rawal, no one even attempts to revive the failed film. In a film when Emraan’s smooches too fail to light up the screen, there isn’t much matter to draw audiences. This con show is one bore show and you wouldn’t miss much if you don’t catch this film. Not everything can be called cinema.