The colours, costumes and jewellery scream luxury and weigh the actors down but very strangely I also felt the glitzy spectacle getting dwarfed in 3D IMAX. The opulence doesn’t seem as awe-inspiring, the special effects, especially in some of the battle scenes, are plain tacky and the actors seem like cardboard dolls of themselves in the long shots, acquiring a human visage only in extreme closeups, which is when Deepika Padukone (and Aditi Rao Hydari too) looks extremely regal and radiant, which she anyhow always does.

The realistic finale which is more about off-bout negotiations than a knock-out punch end Mukkabaaz in a low key manner. But “Bharat Mata Ki Jai” (with a big dose of sarcasm) instead of “The End” plate, after the disclaimer in the finale, is where Kashyap knocks it out of the park. Just as he does in naming his chief villain — a Brahmin, mind you — Bhagwan. Chuckle along and ponder some.

Khan is especially delightful, alternating between the slapstick and the sombre with an off the cuff ease. The “Cape of Good Hope” and “Australia” bits he gets to speak are the noteworthy chuckle-inducing bits in a largely bland, facile and slight fare.

QQS is a happy confluence of many things besides an absolutely entrancing, candid and un-self-conscious Khan who makes acting seem utterly easy and effortless.

Despite a strain of predictability, Tu Hai Mera Sunday brings alive contemporary Mumbai with a rare freshness and likeability

JHMS marks a thumping return to love at its most banal, hackneyed and exasperating. There is not much in the silly situations and trite conversations to get you invested or interested in the lovers. The two main characters themselves don’t seem to share that vital thing on screen called frisson

Lipstick…remains breezy in its audacity. It is unapologetic in giving platform to something largely brushed under the carpet—women’s sexuality—without making a big deal about it.

Unfortunately piety and righteousness are written way too large on Tubelight. We need some inventiveness and chutzpah even when we take the bull by its horns. Afterall, what’s cinematic subversion without any sparkle?

Konkona Sen Sharma’s debut is a marvellously measured film, where each element of filmmaking is staggeringly synchronous with the other

Commando 2 is an action film that decides to wear another mask; of topicality, social consciousness and patriotism, all for the heck of it. In the process the film loses its own identity entirely.