• At times, Sulema­ani Keeda feels like an in-group Ver­sova film that needed more to say hello to the world. At others, it feels yet anot­her variation of Luck By Chance, albeit from the margins. It didn’t stay with me for long.

  • … this sense of whimsicality and romance within the absurd and a simultaneous assertion of the ludicrosity of rom­ance that I found most interesting. However, instead of dwelling more on this delicious dichotomy, the film goes deliberately overboard on the kinkiness and becomes over-­ind­ulgent with the loudness and farce. It ent­er­tained while it lasted but hasn’t stayed on with me for long.

  • It’s a straight, simple story with no great highs and lows and an easy resolution. The film moves a bit slowly, the acting initially feels mannered and the setting designed. But the unashamed good-heartedness and positivity of the film eventually take over.

  • For a good, consistently witty, relationship-oriented film told from the male perspective, I’d go with Saket Chowdhury’s Pyaar Ke Side Effects. But it’s evident that Pyaar Ka Punchnama is on its way to becoming the love bible for young men—however problematic that might be for some.

  • To compare OUTIM to other underworld films like Company and Satya would also be gross injustice to them considering they were a far more textured look into the mafia machinations. OUTIM doesn’t go beyond the obvious and essentially remains nothing more than a straightforward tale about how the new order takes over from the old in the underworld hierarchy.

  • Shootout At Lokhandwala’s tagline is a contradiction—”true rumours”—a clear indication of how facile a film it is. It shows no engagement with the politics of encounter killing, which is its core idea, but glorifies violence and machismo.

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