Like our very own Sanjay Gupta’s desi remake Zinda, this one too is all style over any real substance.

Unfortunately writer-director Sanjay Tripathy can’t lift this script from its quicksand of predictability, and can’t avoid the mawkish melodrama that stories like these inevitably slip into. That, along with a clumsy, overlong climax, makes ‘Club 60’ a rather dull affair in the end. I’m going with two out of five – it’s a sincere film, but one that could’ve benefited from smarter writing and slicker treatment.

‘Catching Fire’ has more than a few gripping set-pieces, but its strength is its solid cast and the lasting impression they make.
This sequel ends on a promising note, leaving you hungry for the next instalment.

To dismiss ‘R… Rajkumar’ merely as a throwback to those cheerfully low-IQ 80s potboilers would mean letting off the makers too easily, for this is cinema of the most exhausting kind. The climax alone carries on for over 15 minutes, in which Shahid is repeatedly stabbed, and then whacked around with everything from iron rods to wooden planks. He survives, but you almost don’t.

Disney’s new animated fairytale Frozen has endearing characters, some good-natured comedy, a bunch of show-stopping musical numbers, and gorgeous visuals. It’s a throwback to the studio’s classic musical adventures from pre-Pixar times, and yet it feels modern because the writing is so fresh and the humor so irreverent.

Up until the halfway mark, Bullett Raja is rollicking entertainment. Our gangster protagonists kill, maim, kidnap, and intimidate their rivals, all the while bickering and joking, in Dhulia’s direct nod to Butch Cassidy and the Sundance Kid. Sadly the film’s screenplay comes undone post intermission, its second half disintegrating into a bloody revenge saga.

Good actors can improve mediocre material; this film is evidence of that. Watch it to unwind after a long day at work.

We’d have cared more about this mismatched couple had the makers invested in a sharper script. It’s as enjoyable as drinking a cup of tea that’s been left out in the cold.

The film, however, is doomed. There’s plenty hilarity but no hope for this tragic prostitute’s story.

In the end it is Bhansali – credited for screenplay, editing, music, and direction – who leaves his stamp all over the film. He brings great style and aesthetic to an unapologetically commercial film, which I’m happy to say is far more engaging than the lazy blockbusters we’ve seen lately. It’s great fun – not the word you’d normally associate with a Sanjay Leela Bhansali film.