O Teri is only for those that are of tough disposition or are blessed with the ability to take any load of bunkum in a darkened movie hall.

A gangster flick with a complement of dark, twisted characters and a plot burdened with an overload of twists, Dishkiyaoon is high on style but low on substance.

It deserves a quick, unceremonious burial. Moral of the story: Never rake up ghosts of the past.

Why are the characters in our horror films so intellectually challenged? Ragini MMS 2 is specially suffused with morons…Ragini MMS 2 is so enamoured by its luscious leading lady’s lusty past that it doesn’t know what it wants to be. Neither horrifying nor sexy, the film is like a conflicted schizophrenic seeking a closure to his identity crisis blocking out the sunlight from all the windows in his home and running around in circles all over his darkened home.

The film’s much-touted feminism seems especially counterfeit when a ruffian is forced by members of the gang to drape a sari and perform an impromptu dance, the implication being that, for a man, there can be no humiliation worse than that. Women who weave their own pink saris and are determined to put all pigs in their place, even if they are in the make-believe world of Gulaab Gang, should be the last people to enforce a stereotype that Hindi films have perpetuated for decades.

Shaadi Ke Side Effects is recommended because, despite its flaws, it is passable fun while it lasts.

It really is difficult to keep a two-and-a-half-hour film from losing its wheels when its engine room is bereft of the propellant of genuine inspiration.
Gunday is like the dusty minefields it is set in. Its loud explosions deliver loads of coal, but no trace of any diamonds.

It is certainly not the ideal date film on this Valentine’s Day weekend.

It is an unpretentious little odd-couple romantic comedy. But the plot of Hasee Toh Phasee is a conundrum that takes some doing to crack. The film works primarily because the lead pair is in fine fettle, flowing along with the unstoppable tide of fluffiness while adding their own angularities to the proceedings.

Halfway through One By Two, one minor character, a poetry-spouting police officer, mentions “inspiration ki hawa”. This little film certainly could have done with much more of that rare commodity.

Jai Ho is a tale that is about as exciting – and just as empty – as the spiel of a politician going to the polls.