Tijori’s film has its moments but it’s way too tedious to be called Do Lafzon Ki Kahani.

John Abraham as the lean, mean, killing machine is perfect for the role of Kabir. It’s the execution and poor dialogue that makes this film a damp squib.

On paper, Teraa Surroor sounds like an edge-of-the-seat action thriller. However, the execution is far from it. Instead of mounting tension, which is crucial for this genre, the film is inundated with umpteen songs and romantic flashbacks that eventually kill the pace and continuity. The use and abuse of infinite Slowmo sequences is another issue.

Unless you are the type who must know who gets the girl in the end, you’ll probably skip this one. Enough of ishq for the week already!

Despite the flaws, if the story of a good-looking couple stuck in romantic situations at picturesque locations excite you, you can give it a shot.

Unless you consider Himachal as your Sanam, this heartbreaking tale on sacrifice and unrequited love, loses its plot and purpose somewhere along the way, re.

Hooda deserves to be appreciated for not making the film look like a propaganda vehicle. Fortunately, the guru is not presented as the MSG-esque superhero. Unhurried, peaceful and meditative, the treatment is therapeutic. However, you wish the film had delved deeper and would have been far more profound in its approach. The story seems preachy in places and execution, oversimplistic.

What could have been a decent revenge drama gets marred by uninspiring (hero) & overdramatic (heroine & the villain) acting.
The Dabangg-esque climax is predictable but probably the most effective sequence in this formulaic film.

This one is a terrible remake. Everything is in excess…

Naseeruddin’s Shah clever (as always) acting, ably supported by Amit Sial and Anand Tiwari, makes this crime mystery gripping, despite the flaws. If you can keep a tab on the multiple characters and their ulterior motives, this one is quite unpredictable and keeps you guessing.