Despite Sushant Singh Rajput and rest of the cast’s efforts, the film fails because it is not Mahendra Singh Dhoni’s biography, it is his hagiography.

Banjo has practically no redeeming features. It is about a NRI musician’s (Nargis Fakhri) search for an original sound which leads her to the banjo artist Tarraat (Riteish Deshmukh) and his rag-tag band, and what happens next.

Radhika Apte, Surveen Chawla and Tannishtha Chatterjee’s film is failed by too much violence and unnecessary gloss. Some things are better left to the imagination.

The shenanigans of Emraan Hashmi, Gaurav Arora and Kriti Kharbanda are supposed to be scary. What you get instead is unintended humour.

Pink, perhaps called thus because the colour is girly, subverts it and turns it on its head. In its best bits, the film blazes, its call-to-arms radiating outwards and forcing us to acknowledge uncomfortable truths. It has something to say, and says it with courage and conviction. Gather everyone and go; and while you are at it, spread the word.

Nawazuddin Siddiqui is capable of carrying a film on his own shoulders but the film drowns in its own silliness.

Katrina Kaif, Sidharth Malhotra film has all the gloss but no beating heart. Baar baar dekho for this romance? Ha, just wishful thinking.

That big cities are empty and soul-less (and Mumbai, Oberoi’s location, is our biggest) is a familiar theme. Oberoi renews it with a couple of good ideas, but doesn’t manage to give us an underneath layer: you are left wanting more, more depth, something that goes beyond the obvious.
But there’s no doubt that Oberoi has an eye. I will be keen to see what she comes up with next.

Sonakshi Sinha kicks butt in the A R Murugadoss film but is limited by her role. Despite Anurag Kashyap’s deliciously bad performance, Akira falls into a sinkhole.

Tiger Shroff plays the bumbling, fumbling superhero with perfection. Had it not been for the unnecessary song and dance, this could have been a rollicking film.