• If all this wasn’t enough there is a casual, pointless reference to beef lynchings and moral science lessons on mobiles and helmets. Forget the ghost, the film will leave you spooked with the many hairy male bodies on display; under the shower, in the bed. And that’s all I am saying for …

  • The film just doesn’t manage to throb with the authenticity of experience. It feels like an artificial world – virtuous but curiously inert. The depiction of violence, sex and trafficking is oblique, bashful and old-worldly. As is the forgiveness and redemption offered for all the trespasses — everything is well as long as the conscience and compassion is alive and kicking.

  • Death is the finale for only the one who dies. October underlines this with melancholy that resonates without ever turning maudlin.

  • No room for poignancy in this Abhinay Deo outing; it’s all about dredging out the essential wickedness, even in the best of human beings.

  • Rani Mukerji lords over a film that plays out predictable, pontificatory and manipulative by turn

  • The recreation of the supposedly longest ever income tax raid could have been far more tight, taut and thrilling than it turns out to be

  • Disjointed, tackily put together with no sense of drama and direction, it will be difficult to top this one on the inanity stakes this year. Some films are so bad that they turn out good in a fun way. Dil Juunglee is so bad that it is horrifically bad.

  • On paper Kuchh Bheege Alfaaz seems just like what Dr Love would have prescribed. …However it takes the entire length of a film and some misunderstandings and complications for it to reach fruition.

  • In the name of swag the actors are made to wear shades, look deliberately deadpan and perennially walk in slo-mo, so much that they leave one somnolent with their unhurried ways. You can see Bajpayee trying hard to breathe life in his persona but Malhotra, who is lovely to gaze at, doesn’t have an ounce of the angst that his character should have ideally had. Bajpayee, the song ‘Lae Dooba’ and some stray canines at the fag end are the film’s only saving graces.

  • Pad Man is an example of how good causes may not always make great cinema.

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