You go in hoping for a fun ride. What you get is a limp con job.

The display of the ‘trafficked’ girls teeters on the voyeuristic. The resolution, showcasing bloody vigilante-ism, is problematic. Is that the only definition of ‘mardaani’, and is that something to be celebrated? Something more pragmatic, and yes, more real, would have served its consistently watchable leading lady, better.

Overall the film, overlaid by a peppy Indian Ocean number that lays out the connection between the `aadhe bujhe chiraag’ that power `poora Kanpoora’, does what it sets out to do : present us with a vivid portrait of a once vibrant city in the throes of decay and darkness.

The sequel to ‘Singham’ is chock-full of the usual car-on-jeep action. Explosions go off at regular intervals. Shoot-outs—one really well-shot– occur frequently.

Akshay Kumar’s ‘Entertainment’ misses the point entirely : it is dull and loud, with a brow so lowered that it reaches the floor.

We know that a Salman film is created solely to display his ‘andaaz’ designed to send his fans into a swoon. What makes ‘Kick’ interesting, apart from some unfettered Salman moments, is Siddiqui in full flow.

One man who can’t make up his mind between two women is classic brom-com, and there are some moments in here that come close to the real thing. But the story never really shakes off its tropes, and burst forth into its own. Das is an amiable actor, and is a good fit for the urban confused singleton, Tomatia’s ‘desi’ appeal as well as Nayar’s svelte swishness is used well, but overall, the film is drab.

‘Pizza’ will give you some nice chills, and a little twist in the end, which is not as a surprise as it should have been. A remake of the surprise Tamil hit of the same name, the film proves a point. That successful horror doesn’t need stars, it needs a solid script, and atmospherics.

The sequel of the 2012 ‘Hate Story’ gives us a new vengeful woman. She’s been wronged by, who else, a man. And she will stop at nothing to get back at him.
Singh is competent , but even he can’t do much with a plot that keeps him in repeat mode. Chawla shows occasional spark, but that’s not enough to front a full film. Even Sunny Leone’s pink lips, which she pouts most enticingly in a song, don’t do the trick.

‘Humpty Sharma Ki Dulhania’ scores with its likeable lead pair. Varun Dhawan still has raw edges and lets the effort show but he is right for Humpty the Dumpty who likes sitting on wall, and doesn’t mind a fall. As the designer ‘lehenga’-craving ‘kudi’ who turns into a girl who chooses substance over style, Alia Bhatt is vibrant and fresh, and the highlight of the film.