The movie is so far from being the zippy crime caper it presumably set out to be that it leaves you stranded, wondering just what is going on.

Kangana and Imran spend the film engaged in the most inane of doings…Imran Khan is pleasant and earnest, Kangana Ranaut has knocked it out of the park a couple of times while playing feisty, and is capable of mining real emotions even in the fakest of films.

There really is no reason why the sequel, despite the collective clunkiness of John and Shruti, shouldn’t have worked in exactly the same way. But the jagged narrative and heavy-handed manner of delivering dialogue, much more risible and tasteless than the original, ruins it. We’ve moved on ; the film, and its treatment, hasn’t.

Good idea, faulty execution. Using water as a trade commodity is a powerful concept, especially given that there is so much drought and so little accessible clean drinking water in so many parts of India.

Saif Ali Khan, Katrina Kaif’s Phantom is disappointing, there is no crackle, only fizz…

Nawazuddin Siddiqui strains every sinew, and remains consistently watchable despite the shifts in tone. But even he cannot make the film soar.

Whoever named this film must have a great sense of black humour, because the only thing ‘well’ about the film is its title…

A man’s struggle for identity can be an absorbing story. Uplifting even, if it is connected with a country’s freedom struggle. Gour Hari’s ‘dastaan’, based on the quest of a real-life character, has all the elements that could have made it all this and more, but it comes off flat and dull.

Akshay Kumar, Sidharth Malhotra’s film uses a form of kinetic martial arts to foreground its story of two warring siblings, but it stays, at heart, a Karan Johar film.

The film finds its laughs in the odd moment, but comes off, over all, flat and tepid.