Prakash Jha’s films tend to be didactic but the unnecessary inclusion of a romantic track just dilutes the essence of the film instead of providing some much-needed respite. The director needs to realize that playing to the gallery isn’t always possible. ‘Satyagraha’ is well intentioned but the effect remains superfluous.

…undoubtedly makes for an engrossing watch, a little more attention to detail and the film would have been brilliant.

Milan Luthria has potential and he has proved this before. It is frustrating that Luthria who usually knows the pulse of his audience, seems to have just wasted this opportunity. I can’t think of one memorable moment from the film. It’s glitzy and glamorous but lacks the character of the first part.

If you are a die-hard Shah Rukh fan and if you can overlook the many indulgences of the Rohit Shetty-style of filmmaking there is no reason for you not to love this movie.

Nikhil Advani exhibits rare brilliance as he manages to sustain edge-of-the-seat suspense throughout. Watch it for an engaging story and engrossing performances.

The film may belong to Akthar, but in the final analysis it is the work of a director in complete control of his material, and his craft. Mehra has helmed ‘Bhaag Milkha Bhaag’ into a compelling story and an exemplar of cinematic brilliance; that it is also an inspiring tale almost seems to be a by-product.

‘Lootera’ oozes with the allure of an old-world charm and Sonakshi befittingly plays the heroine of this epic drama. Vikramaditya Motwane’s subtle love story has an inherent appeal but is weighed down by a labored pace.

‘Fukrey’ creates memorable characters and some sadi dilli nostalgia but the film never really becomes more than the sum of its parts. The linear narrative is peppered with genuine humour but the pace is slow and the events predictable.

Sangeeth Sivan’s ‘Yamla Pagla Deewana 2’ is organized chaos. Alas, garam Dharam can do little to salvage the sinking career of his two sons. The film remains watchable in bits and pieces for Dharmendra and Dharmendra only.

Mira Nair takes on the daunting task of adapting Mohsin Hamid’s ‘The Reluctant Fundamentalist’ and skillfully transforms a monologue into an engaging plot. She weaves an elaborate tale, infusing it with warmth and texture.