Bobby Jasoos has no item numbers, no cheap thrills, and none of the usual trappings of a wannabe blockbuster.

But it has Vidya Balan in fine fettle, and that should be reason enough for you to go out and watch the film.

The biggest of the villains in Mohit Suri’s Ek Villain is the screenplay itself. As a whole, this film, besides its surface flair, does not have too much to fall back upon.

Watch it only if that is good enough for you.

Humshakals is consistent in one respect: the only way it goes is down. The gags turn more and more grotesque as the film progresses, ending in such an unseemly heap that it becomes impossible to fathom what the hell is going on. Heed the warning: Humshakals is infinitely more insufferable. Even if you possess plenty of himmat, use it elsewhere.

Like many a Bollywood flick that has gone before, Fugly is about a quartet of well-meaning pals presumably fresh from college and in quest of a meaningful future.
One of them is the strong and brooding type (Mohit Marwah) who runs adventure camps for foreign tourists in Leh. For all its pious posturing on the safety of women, Fugly has no qualms about treating the lead actress merely as eye candy.

Holiday lacks the sustained intensity and urgency of an edge-of-the-seat spy thriller.

The script does not allow Akshay Kumar to be the no-nonsense action hero that would have held the film in better stead.

His lover boy act only dilutes the larger-than-life persona of the fearless and single-minded mean machine that he is supposed to be.

CityLights isn’t a feel-good entertainer. It is a film that shocks, provokes and seeks to prick our collective complacency and apathy. That obviously adds up to infinitely more value than the price of a multiplex ticket.

Don’t expect cheap thrills from Hawaa Hawaai. It proffers none. But if it is genuine entertainment that you are looking for, your search ends here.

A Kangana Ranaut film seems to be increasingly acquiring the proportions of a genre unto itself.

It needs neither saleable male co-stars nor the tried-and-tested conventions of Bollywood blockbusters.

Revolver Rani may lack star power, but it has no dearth of firepower.

Kaanchi is strictly for old time’s sake.

2 States is good for a one-time watch.
The unabashed shallowness of a Chetan Bhagat book meets the inane glitter of a Karan Johar-Sajid Nadiadwala production in 2 States.

The result is the creation of a third state – the state of overpowering indolence.