In the end, the film throws up a bunch of interesting ideas which doesn’t come together coherently in the plot. The prime problem is that the film is too much soul and very less substance. It was promising but half-baked, with the thrills falling short in supply.

Bahl and Katariya have written a potent script that believes in conveying without many words. It is amazing that none of the characters have a backstory that was forcibly incorporated to add substance to the script. Good writing is so holistic that it paints the right picture without meandering and still manages to keep it wholesome. It is commendable how the film’s vision is never myopic and is always intact on the narrative. The homosexual relationship is never excavated but is observed when blatantly suggested. The multiple dysfunctionalaties leads way to a delicious story.

It is great to watch, enjoyable in parts, a treat for romantics who finally get a film that is more than trials and tribulations of love but it never gives you the heady high of mushrooms and pot brownies. Shaandaar isn’t all that Shaandaar but is a breezy, feel-good entertainment that will soon in future will be counted as comfort-cinema. Bahl deserves to be applauded for creating newer tangents to deliver on and not replicating what already exists. Until next time, dream on!

Jazbaa is daring, menacing, intriguing and aptly gripping but is never more than a shadow of its original. Novelty is avoidable if the product is able to latch itself to your subconscious (My facourite example of this is Barfi), but Jazbaa barely scrapes through on those grounds. It works but it could’ve been so much better.

Talvar shines because of its loftily detailed screenplay. It is hard to find suspense in a widely discussed case like Aarushi’s. It is inevitable to be aware of every detail, prominent and petty ones alike, given the amount of media interest in the murder.

This hare-brained, idiotic buffoonery stoops too low for laughs and if you have any dignity and an inkling of respect for humour, give Kapil Sharma’s debut debacle a miss. As Mrs Funnybones writes, nothing is life is sacred, except laughter….Respect it!

Since the makers claimed that the film’s climax has a heartwrenching twist, here’s word of caution : the best thing about Katti Batti’s ‘gloomy’ ending is that you can finally go have aspirin for that nagging, hammering headache the film gave you. We have solid reasons to be cross with Katti Batti, do you?

From mumbling bizarre one-liners to gyrating to strange dance steps, Anees resorts to the lowest forms of physical comedy to evoke laughs. The stock antics aren’t delightful enough and the story doesn’t allow any of its actors to flaunt their vivacious comic streak to the fullest.

With exquisite cinematography, charming shots and stellar stunts, Phantom scores as a terrific, taut, crisp, nail-biting thriller that will easily be unmatched for a long time to come. When we see the final shot of Taj and Gateway, it is hard to miss the feeling of satisfaction Kabir has conjured up. So what if isn’t true yet, some day the souls of those killed on that gruesome night will be avenged. Some day…

The biggest pitfall of the movie is Riteish’s character who feels so strongly about Muslims being stereotyped by the society that he turns into a suicide bomber. It is extremely bizarre. This film is a plain victim of bad direction and avoids everything (read Riteish) that could’ve saved him. This film is a victim of shabby direction. If Karan needs a lesson in films of this genre he must grab a copy of Four Lions which was pertinent and entertaining. Bangistan is low on bangs, fun and everything it promised it will entail.