Jackie Chan and Sonu Sood’s promotions of this film was way better than anything that the movie has to offer.

Hrithik does all the heavy lifting and remains the only bright spot in this dispirited mess of a movie. He still has the moves. What he needs is a plot.

Shah Rukh Khan manages to break through in some scenes but this film belongs to Nawazuddin Siddiqui who is having the time of his life.

When the film is about Don Dawood and an Arnab Goswami doppelganger, you expect jokes galore. What you get instead is this craving to run as far away from theatre as possible.

Shweta Tripathi and Nawazuddin Siddiqui front a film about a topic we barely acknowledge, forget showing it in our films. Director Shlok Sharma shows talent.

This Aditya Roy Kapur, Shraddha Kapoor film proves Bollywood needs to get more adept at depicting young love. Why do our lovers, so much quicker off the mark when it comes to locking lips, sound so juvenile?

This will also go down as the film which, despite its close clinches, male and female (yesss), its rumpled-bedsheets-and-bedroom-antics, gave us a romance that never ignites. The fire between the lovers is restricted to the songs-and-dances; Ranveer and Vaani don’t burn it up.

This Vidya Balan film starts well but starts telegraphing its punches around interval. It becomes predictable and there can be nothing worse for a thriller.

Both Shah Rukh Khan and Alia Bhatt show spark but the film needed a plot to hinge the performances. Too many dialogues that say too little take the joy away from the film.

Neha Sharma and Aditya Seal star in a love story which is an instant throwback to the first film. But unlike Tum Bin, it fails to mix the elements wisely despite delivering some well executed moments.