The duo does nothing without seeking backslapping punchlines in their violent arguments. It’s almost as if they’re two stand-up comedians seeking an audience.

Some effective acting by Rajit Kapoor as the disciplinarian principal who crumbles when faced with a domestic crisis ,and Jimmy Sheirgil as a cop who changes colours faster than the film’s loose-limbed script can register, and a powerfully sung anti-rape song are the saving grace in this film over-populated by cardboard characters mouthing overzealous dialogues.

The film is a delightful mix of madness and mirth, of happening parties and rippling repartees.And the Martinis, if James Bond is curious to know, are sternly dry in contrast to the sticky situations that Susan gets herself into.

ABCD2 is the happiest film of the year. Remo’s coming-of-‘edge’ dance-and-drama razzmatazz is suffused with a steep quotient of what the French call joie de vivre and what we down here refer to ascheez badi mast mast.Despite its patchy portions the storytelling is so infectiously endearing you’d be seriously tempted to spring out of your seat and groove with the onscreen revellers .

There is never a dull moment here.Even when the characters are bored and tired of dancing, we are are not.

There are bad films. Then there are bad films masquerading as works of art. Hamari Adhuri Kahani exposes Mohit Suri to be a shallow and superficial director who scratches the glossy surface of living-room relationships to reveal more of the creator’s own spiritual emptiness rather than the angst of his troubled characters.

… is a film that could have been noisy messy and crowded. It ends up being just the opposite .

As Aamir Khan would say for the Mehras’ canine Pluto, “Bow wow!”

Yup, we bow to the wow.

It’s not easy to make a non-stupid film with two stupid characters at its helm. Welcome 2 Karachi pulls off that daring feat without falling
flat on its face.

For that alone this film deserves a bit of our attention.

TanuWeds Manu Returns sparkles and dazzles with its delectable synthesis of the scintillating and the sassy.With his third winner in a hat-trick of triumphant films(after Tanu Weds Manu and Raanjhanaa)Aanand Rai asserts his place among the most astute original and culturally sensitized filmmakers we have today.

Bombay Velvet for all its sins of excesses, is the gangster epic that Bollywood was waiting to unleash. Tactile, smokey, powerful, passionate and pulsating with periodicity…this movie is an experience that’s more remarkable for what it attempts than what it actually achieves.

Piku is an exceptionally intimate character study.The three principal characters bare their frailties on camera as though they were part of a reality show that had no cameras. The emotions are raw and unabashed. The three principal actors sink into their roles like monks bathing in the holiest water on this side of the Ganga.