It’s consistently engaging. Don’t miss it.

I’m going with five out of five for The Lunchbox. The greatest love stories are the ones that make you root for the protagonists to come together, despite their destinies. This film illustrates how love transforms the unlikeliest of people; it breaks down Saajan’s walls and gives Ila the courage to fly. Treat yourself to The Lunchbox – it’ll leave you with a craving to seek your own little happiness. Best film I’ve seen in a long time.

It loses steam at the halfway mark when the laughs suddenly dry up.

It feels like a bunch of tasteless jokes strung together.

The film then is sloppy and contrived; it’s an unoriginal and uninspiring thriller that’s let down by flabby writing.

The sad truth is that ‘Grand Masti’ revels in making you cringe, not laugh. Adult humor tends to work best when some things are left to your imagination. But the makers of this film force-feed the audience images and dialogues and references so discomfiting, the only laughs you’ll hear are nervous chuckles.
It’s vulgar, but too silly to qualify as an ‘adult comedy’.

To a large extent, Shuddh Desi Romance reinvents the wheel as far as Bollywood rom-coms go. It’s aggressively non-formulaic, and gives us characters who refuse to conform. The minor hiccups notwithstanding, this is a charming little film. I’m going with three-and-a-half out of five. You’ll enjoy it.

I’m going with zero out of five, for the new ‘Zanjeer’. Without belittling their year-long battle with the film’s makers to be compensated for remaking their script, one has to wonder if screenwriters Salim Khan and Javed Akhtar might consider donating some part of their settlement towards admitting these guys in film school.

We’re The Millers is a crude road-trip comedy that alternates between outrageously funny and plain silly. I didn’t think I could laugh at a situation where an adult practically pimps a teenage boy to a homosexual police officer, but that scene is written and performed so competently, you’ll be on the floor guffawing uncontrollably. Alas, not every joke sticks; inconsistency is this film’s biggest crime.

It may be coming from a good place, but it doesn’t know where it’s going.