Within the confines of this stumbling genre, director Kirpalani does a decent job with a predictable script. There is only so much originality left to operate with; even the ghosts have begun to look alike. There are plenty of set pieces (elevators, AC ducts, Mannequins, kids, CCTVs), but none as jarring as the Raaz series.

Most landmarks of Hindi cinema have invariably been buddy flicks. Though not always blessed with technical bravado, their hearts have been in the right place. Gunday fails to fulfill that basic aspect- leaving you mildly enraged with the hope of what could have been, especially given the inexhaustible resources at hand.

…a woeful product that attempts to speak for Islam while trying to dispel false notions about the religion, but ends up as a discourse against every department of filmmaking.

Shekhar Suman’s directorial debut Heartless, starring his son Adhyayan Suman, would have been the butt of his own jokes in the immensely popular ‘Movers and Shakers’ back in the day.

This is a captivating cinematic risk on paper. It is the story before the love story, about how destinies possibly intertwine in a big city. Will their individual lives be interesting enough to hold out on us for so long? Not quite.

Purely as a superhero film, Jai Ho works on far greater levels than, say, a Krrish 3. Petty powers like flying, web-spitting palms or acting aren’t required, because the man has hands. And they’re not the 2.5-kilo version. He even has legs that can kickstart an ambulance.

What starts out as the 531st Delhi tri-buddy flick in the last three years quickly assumes the seriocomedic resonance of a Moral Science Class taught by Silvio Berlusconi. Do yourself a favour and log onto Wikipedia instead. Or better stillstare at the poster of Dallas Buyers Club, where Matthew McConaughey spreads more awareness about the disease by devastatingly looking the part.