Overall, if you had made Teraa Surroor, it would have been a better film. For now, we simply have to accept that it is a terrible waste of the producers’ and your money. Stay at home and watch Netflix instead!

Jai Gangaajal lacks the kind of raw emotion or grittiness that his earlier works like Mrityudand and Damul possessed. Rajneeti was a casting coup wasted, Aarakshan dragged, Satyagraha was simplistic and so on! For some time now, we have failed to see this champion of political drama making a layered film that we know he is actually capable of.

Overall, Jai Gangaajal is totally skippable. 

That’s probably the biggest fault of the film – it does not pause – for inspiration, emotion or enlightenment to dawn on the characters. It quickly races to the finish line, hoping the viewers fill in the blanks and figure out transformation.

Verdict: you can skip it! 

If only Abhishek Kapoor had stuck to the original story, indulging in the complex intertwined tale of expectation, fate, luck and love, Fitoor may have worked perfectly for an Indian audience. The original tale has all the markings to feed our drama loving audience its fill. Unfortunately, Kapoor strayed from the course, botched up and we have a film that is worth watching only for three reasons. Oh! The third being Aditya Roy Kapoor’s chiselled torso.

While using chess as a backdrop is quite an interesting idea, one wishes the writers and the director made good moves and clocked themselves too. Overall, the film is neatly shot (Sanu Varghese) and paced (Vidhu Vinod Chopra, Abhijat Joshi). But that simply does not work its charms. The ‘leave your brains behind’ policy may work for this film; if you don’t question it, you may enjoy it! 

The only thing good about the film are the refurbished car-chairs that are strewn around Raj’s garage. So, you could check that out if you are really keen. But, as long as you trust my word, I would say skip Dilwale, and go for Bajirao Mastani, instead.

The film is good in parts, meh in others and has its share of fun moments, especially when ‘the neighbour’ (Anuj Choudhry) is objectified by all the women, while he washes his car, shirtless. But every sequence ends up with a “we-are-trying-to-do-something-important-here” tone and spoils all the fun. After the end credits have rolled to a song that I’ve already forgotten, I can’t make up mind if I liked the film or not.