Chris Hemsworth looks as if he has wandered in from a super-hero movie in his spare time. It is Tessa Thomson who makes this thing work.

More a miss than hit…In a Salman Khan movie, anything is possible, even tall tales that can transcend borders.

Clearly the intention of the film is to hold a mirror to where we have reached as a nation, with hatred and bigotry replacing trust and ‘bhaichara’, the sort of intention we need to see more of because it would seem only cinema can join the vanishing dots of the India that used to be.

India’s Most Wanted has the relatively novel backdrop of Nepal, where the terrorist is meant to be hiding out. New scenery usually means instant freshness. But the overall result is more a placid seen-it-before run-around than the edge-of-the-seat nail biter that it promises to be.

As a bio-pic, PM Narendra Modi inhabits muddled, post-truth territory. As a hagiography though, genuflecting at the altar of the man, it’s perfect. It’s uncritical, unquestioning, high on rhetoric. And there’s nothing accidental about it.

You wish the film had been braver in its intention of creating a really cracking rom-com, instead of playing its clichés for a laugh.

The running time is too long for what is, essentially, yet-another-buffed-up-version of Jo Jeeta Wohi Sikander crossed with Kuch Kuch Hota Hai. This class of 2019 has predictable beats, which is to be expected in an underdog story, but that it is so stilted is disappointing.

Blank which emphasizes its over-used thrust – Islamic ‘aatankwaad’ threatening the unity and integrity of ‘akhand’ Bharat – comes off as far too generic

Setters lays all its cards on the table in the first act itself: the follow-up is over-long and tedious. And, barring a few sharp moments, flat.

Kalank doesn’t really lift off the screen. The whole feels like a giant set, stately and ponderous and minus impact; the characters all costumed and perfumed and largely life-less, sparking only in bits and pieces.