Performances by Neil Bhoopalam, Darshan Kumar and Deepti Naval are credible. None of them falter, not even a bit in convincing you about their characters. As for the film itself, it does not offer the same conviction. It has the trappings to sway the average Hindi movie buff, some might even see a ggreat leveller in it. But to the Hollywood regular this one’s just another release.

… there’s just one feature of this film that allows the viewer to sit through its agonizing two hours – Nana Patekar. The veteran actor pulls out all stops in action, dialogue delivery and even scenes of sparse comedy. But how long can even the most industrious captain sail a sinking ship? Ab Tak Chappan 2 goes down without a trace. Even Ram Gopal Varma’s worst film has more cinematic nuance than this rookie mistake.

This film is based in the ’90s, it even has a cameo by Kumar Sanu. And that treatment for this story is perfectly novel. A lot of thought and effort has been put into making this film. You’ll appreciate the seamless intertwining of humour and drama. And acting performances that are phenomenal.

If it weren’t for the performances of the two lead actors and the great story by Massimo Carlotto, Badlapur would’ve been average fare. But it’s not. This is one heck of a thriller. The climax, that one final dialogue, where Huma Qureshi’s character lays it down for Varun’s character changes the entire context of the movie. These are moments that you’d usually associate with noir classics from Hollywood. Badlapur might just be our first little step towards making films that matter.

Qissa is a film about broken minds, social dysfunctions and alternate sexuality in pre-partition India. It has all the trappings of a great art film. But it’s served with nonchalant experimentation. And that is where this fable falls short.

End of the day, this is a commercial Hindi film. It’s as masala as it can be. Complete with half a dozen songs that are shot like kitschy and corny music videos. You have A-grade visuals, top notch make-up, a bevy of bad actors playing bad guys and Guruji eradicating evil with consummate ease. It all seems like a surreal Sunny Deol movie with a very obvious religious hangover. There’s so much glitz, action and high drama in a movie about men having godlike ability. That’s replete with the supernatural skill of being able to produce incandescent beam of light from your hands. The kind we usually associated with the deities. If all that doesn’t entertain you, then so help you God.

Director Vikramjit Singh’s ambitious first film had the potential but end of the day it turns into a tiresome affair. A tad too indulgent and too contrived.

Shamitabh is a film unlike any other. Its themes are dark and deep. Its observations are candid and funny. Like any good film, its a mixture of art and mart. Songs like Piddly si baatein and She sha sha mi mi entertain. And then there are wonderful reflections on the film world. In a scene Dhanush conveys to Akshara that the film they’re making is too arty and not commercial enough. Same goes for Shamitabh. It’s a wonderful idea, straight from the heart. But end of the day its not a crowd pleaser. It is though a moving argument to why we love a phenomenon called Amitabh Bachchan.

Decent writing, good performances and an overall well-made film. There’s nothing to complain about the camera work or pacing of the film. But the one area where the movie suffers the most is its music.
As far as popcorn entertainment goes, it’s only about the feel-good quality. And on that note, there’s absolutely nothing wrong with Dolly Ki Doli.

A comedy is supposed to make you laugh. If it does that in abundance, all other cinema sins can be forgiven. Even though CCF does well in the raising laughs department, its just not consistent enough.
There’s ample supply of craziness here. If only it were presented in a more aesthetic and artistic manner.