This Diana Penty, Abhay Deol film is good for a few laughs but then falls victim to weak writing and never realises its full potential.

Lee, surprisingly, isn’t bad at all, and manages the emotional bits quite well, though he does flatten in bits. So does the film, but meanwhile it makes its point that East and West can sometimes be best.

Akshay Kumar-starrer borrows the core idea of Nanavati murder case and adds a layer of extra intrigue. The plan is to make a spicy plot spicier but turns it cardboard.

Hrithik Roshan can’t rescue this film. Ashutosh Gowariker makes it bigger but not better. Pooja Hegde needs a better debut. Mohenjo Daro is a plod.

…there’s enough zest in the warp and weft of the film, to keep us engaged. It has a welcome sense of pace and place with the use of authentic-sounding Oriya lines being kept at a minimum which is much better than everyone fumbling over the accent.

This comedy will make you cry for the wasted talent of Arshad Warsi, Boman Irani and Aditi Rao Hydari. And all the missing ‘h’ in the film.

John Abraham and Varun Dhawan’s movie is designed like a fast-paced caper but lacks impact. It shines in bits and pieces but the rest is a stretch.

This was the time when Rajinikanth should have reinvented himself for his directors have long stopped bothering about plot and characterisation. For when Rajinikant is on and at it, who cares?

To spice up the by now wrung-out-to-dry formula of sex-starved husbands and stand-offish wives, Great Grand Masti script has added on a female ghost who died a virgin.

Sultan is an entertainer with heft. Salman Khan aces it with a full-bodied, fully-earned performance in the movie and is ably supported by rest of the cast.