Nothing in “Newton” is said obviously. Metaphors abound, and it is up to the audience to draw their own conclusions. But one thing is clear – Masurkar and Tewari make no bones about whose side they are on, even though the film pretends to be neutral.

What distinguishes “Daddy” from the many campy gangster films Bollywood has produced is that it at least attempts to try something different within the genre. But scratch the surface, and it is yet another film that romanticizes a gangster and attempts to redeem him.

The film might have been an attempt to create a good old-fashioned love triangle, but the events leading up to it feel unnecessarily contrived, and the plot (by Nitesh Tiwari and Shreyas Jain) wafer-thin and stretched. The so-called conflict could have been resolved if the leads had an honest two-minute conversation.

The biggest letdown is Ali, who doesn’t even seem to be trying anymore. This is a film that feels like it was directed on auto-pilot and then left to its own devices.

Arjun Kapoor displays a singular lack of comic timing, and the female leads are for decorative purposes only. Athiya Shetty, whose promotional appearances for this film are hugely disproportionate to the miniscule amount of screen time she gets, puts the cherry on top when she says coyly to her groom, “There must be something special about a man who sacrifices his love for his family.”

Shroff is the perfect old-school hero, with screen presence and action skills to match. Now if only someone would give him a good script to play with.

“Lipstick Under My Burkha”, much like the beauty product in its title, is at best cosmetic in its treatment. No wonder then, that its impact doesn’t last for more than a couple of hours.

For all its positives, the sum of the parts is unable to redeem the whole. There are moments in the film that are wonderful, but when you put it all together, “Jagga Jasoos” doesn’t seem as rich and colourful as it appears to be. 

In her first full-fledged role after the much-loved “English Vinglish” in 2012, she proves that she is the embodiment of the new age Bollywood mother – willing to kill anyone who has wronged her family instead of meekly accepting what life hands out.

For all its insistence on faith, the film shows a surprising lack of it – it is all rehearsed, clumsily designed to tug at the heartstrings and endear us to its leading man. This “Tubelight” flickers erratically for a long time and then dies out.