The film does make you sit up and raise a fist against the most prevalent malady of our education system.

Watch it for its unbridled goofiness, the attempt to laugh at the Punjabi stereotypes and for the Deol chemistry that makes you chuckle, now and then.

This one’s got neither sum nor substance and is sure to make you impatient.

The film has an impeccable first half and could do with some editing in the second half. But the high drama, the arresting performances and the spunky audio track (Amit Trivedi) make NOKJ a memorable viewing.

Band Baaja Baaraat works smartly as a sociological study of saddi Dilli, with moods, moments and characters that crisply capture the life on the other side of the neon lights. Like Dibakar Banerjee and Rakeysh Mehra, director Maneesh Sharma chooses to look the other way and talk about the earthy, emotional, rough-edged quintessential Dilliwala who peppers his language with street talk, doesn’t believe in minding his Ps and Qs, revels in an in-your-face attitude and cocks a snook at the HS (high-society) people…

…it’s not meant to make sense. It’s only meant to entertain. And entertain, it does in overdoses. No, this isn’t meant for people who are looking for different cinema. Nor is it meant for the viewer who likes movies to appeal to his head. Yet, for those who celebrate and serenade the `silliness’ of mainstream masala movie lore and swear by its popcorn quotient, Dabangg is the greatest getaway of the season.

Memories in March is both a sensible and sensitive watch.

A lyrical ode to the modern malady — metro-eccentricity — Dhobi Ghat is intelligent and artistic cinema.

It’s a familiar world of bhais, boxers and bustee wallahs which Mumbai cinema has created and re-created, time and again that stares at you in Lafangey Parindey. And it’s this familiarity of character and script that actually works against Pradeep Sarkar’s third love story which comes after Parineeta and Laaga Chunari Mein Daag. There is an overriding sense of deja vu that overcomes you as you watch the cliche-ridden script unfold in a predictable fashion, where the rough-edged gangster is involuntarily drawn towards his sweet yet strong victim. And yet, it isn’t easy to write off the film completely.

In Ishqiya lingo, the film is a sutli bomb (firecracker) that tickles and explodes. But for the hurried and harried end. Go, have a blast.