This is basically a paranoid movie embracing social relevance to compensate for daring to accessorize a tragedy through the medium of art. Given the current climate, these inclinations aren’t surprising. After all, you know a film is on shaky ground when it’s a natural disaster that must rescue it from being a man-made disaster.

The Most Incompetent And Tasteless Vanity Vehicle Of The Year…Starring Preity Zinta, Sunny Deol, Arshad Warsi and Shreyas Talpade amongst others, this film should have been titled Ghosts of Bollywood Past.

There’s no point writing about the performances. They’re all on an extended British holiday, being paid to behave like sugar-addled nincompoops at a funfair. What’s not to love? (or hate, if you’ve paid for a ticket to watch rich stars vacationing abroad)

Calling it a “posh urban thriller” is one thing, hijacking an entire landscape and soundscape to justify this inane production package is another altogether. I was planning to visit the country next year, and now I’m worried that I’ll find rickshaws, overcrowded buses, honking scooters and hawkers selling Chetan Bhagat books and Bhatt DVDs at traffic signals.

…this film is torturously dated, and runs far too long even as a glorified television episode. There have to be better ideas out there – like a spinoff movie on Sonam Kapoor’s computer-genius character from ‘Players’. You’re laughing already. See.

Mohit Suri, who has progressively lost control over his craft, is only a step away from fashioning moving pictures out of illustrated music albums.
As gratingly mediocre as Ek Villain was, this is easily Suri’s worst film.

There’s nothing wrong in making a rich film about hollow ‘rich’ problems.
That she generates empathy for characters whose introspective sessions happen in luxurious suites and velvet bathrobes instead of cramped flats doesn’t make this a lesser representation of mournfulness. These folks are victims of their own becoming, and it’s as compelling to watch, if not more, than a caricatured rags-to-riches journey.

Coffee Bloom eventually reiterates the importance of strong fine black coffee, if only to get through the movie.

It is easy to mistake an unpleasant viewing experience for a bad one. Badlapur is as uncomfortable as it gets, but it’s also as good as it gets. Exemplary craft apart, this film also reiterates the importance of challenging convention-an art long abandoned for the haze of commerce.