Deeksha Seth shows some spark, but it requires a better film than this to judge her. Both she and Armaan are undone by some poor writing and direction, and that is indeed unfortunate. While all’s well that end’s well for their characters, we would be hard pressed to say the same for the film itself.

There are few things to complain about with Bobby Jasoos. It’s a delightful caper with a lot of heart, and you root for both the film and it’s protagonist all the way till the end.

There is no doubting that Suri’s vision is clear in its own space-evident from the usual heady cocktail of lilting tunes and brooding antagonists – but his storytelling leaves much to be desired. Ek Villain is a prime example, and even as a standalone effort (as it will be, for most viewers), it is perhaps his weakest.

Humshakals is a defiant film made by a man who is fast becoming a rebel without a cause. His audacity is almost frightening, but I was reassured by the pin-drop silence in the hall-one that’d accompany the screening of a gutwrenching war drama. This is, in many ways, not too different.

The story is of little consequence because the makers get the basics and technicalities all wrong. They are at odds with the concept of background music, instead relying on Tom-and-Jerry sound effects to single out nonexistent punchlines. In spirit of the ongoing World Cup, if Chal Bhaag were a football team, it would be relegated to tier 3 of qualifying on the first day of the season.

The title is a popular Indian children’s nursery rhyme, and perhaps kids under the age of ten would have been the perfect target audience to frighten. Unfortunately, this film is rated A (Adults only), and therefore, falls way short of remotely acceptable levels of spooky entertainment.

There will come a day when an ambitious filmmaker decides to raise awareness in a focused, entertaining and constructive manner, but that day isn’t today. F*ugly is more of a fight for all that is ugly, than against it.

It is still worth a watch, at least for a genuinely unique protagonist that almost overshadows a botched-up final act.

Citylights’ frighteningly carnivorous undertow singularly restores Mumbai’s reputation as India’s most absolute cinematic city.

Perhaps this film lacked scope from the beginning, but its shortcomings are definitely not a result of less effort. Also, credit to the producers for making sure that every viewer grins at least once-while having to name the film at the ticket window.