This is lazy, indifferent filmmaking, and a colossal bore for most of its running time. A video featuring Salman Khan singing the terrific title track at the end is too little too late.

The Transporter Refueled smells like a hack job at best, a lazy attempt to cash in on a successful brand. Leading man Ed Skrein can act and looks the part too, but he’s got very little personality. I’m going with two out of five. Bring Statham back. Or inject something fresh into these movies.

It’s pedestrian but unpretentious; I was surprised by how much I laughed.

There are some things even Meryl Streep can’t do. Rescuing this flaccid film is one of them.

The jingoistic dialogue and the film’s questionable message aside, this is boring, inert stuff. The director’s last film ‘Bajrangi Bhaijaan’ feels like Citizen Kane in comparison.

Make time for Gour Hari Dastaan. It’s an important story that must be heard.

Brothers, despite its contrivances, leaves you choked more than once. How can it not, with all that unabashed emotional manipulation? Throwing in an item song, repeated flashbacks, and too many cutaways of an anguished wife (Jacqueline Fernandez), Malhotra lays it on thick to a premise already inherently melodramatic. He’s further Bollywood-izing a plot that’s already ‘too Bollywood’ to begin with. The result is a film that’s trying a little too hard.

Film critic-turned-filmmaker Karan Anshuman shows flashes of wit and potential in his occasionally clever nods to classic films. But saddled with a script that’s neither funny nor biting enough, he delivers a film that barely takes off.

Director Antoine Fuqua shoots the boxing scenes in long takes and gives us full body shots that look painfully real. What a shame that it’s all in service of a plot that’s utterly predictable from start to finish. Melodramatic and manipulative, this is no Raging Bull.

When was the last time you enjoyed a film for its gripping plot, its compelling story? Drishyam, with its refreshingly original screenplay and its many moments of tension, is just that. Kamat’s Hindi version pales in comparison to both the original Malayalam film and the Tamil remake, but the plot nevertheless keeps you hooked till the end.