Mubarakan is designed as a family film where comedy is generated through quarrelling relatives. This works initially but goes out of control later.

This forgettable 138-minute film can be better described as this one-liner somebody whispered in the dark right before the end credits: Ye sab alag hi zone me hain (They’re in a different zone).

Nothing can save this Paresh Rawal, Kartik Arayan film when it features songs on farts.

Nothing can save this Paresh Rawal, Kartik Arayan film when it features songs on farts.

I wiped my eyes when the same footage played inside the theatre, I won’t deny that, but that’s mostly because of the nostalgia attached to my teens. It’s reliving the Sachin magic, not a perfect docu-drama on him. Still enough to bring you to the theatres. We have been doing it for years. Maybe one more time.

Half Girlfriend is confused, forced and takes the audience for granted. In one word: disappointing.

Most of Sarkar 3 is a remake of Sarkar. Nagre is still dealing with absolutely similar problems in absolutely similar manners.

But there is one good thing about Sarkar 3. Ram Gopal Varma is a step closer to regain his touch. Veerappan showed he is not out of the game, and Sarkar 3 suggests he is on a comeback. He should also be lauded for a great ensemble cast.

Ultimately, Raveena alone couldn’t save a thin storyline, and Maatr is just another run-of-the-mill revenge saga.

The 134-minute long Begum Jaan has Vidya Balan in good form, but it lacks cohesiveness as a complete story. It shies away from delving deep into the theme, but you may appreciate its documentary-like treatment.

This film may not offer a substantial take on any cause, but it is one of the many that take the debate forward. Being mainstream will only help it.