With a more substantial and empathic script, Dhadak could have struck the heart. Instead it barely touches the surface.

Avoid this Salman Khan action thriller at all costs…

…the film’s biggest weakness is its inability to make one root for the missionary zeal of the superhero. A hastily and lazily put together finale, which opens door for a franchise, the film feels distant from reality.

Everything is so rosy and pretty in Veere Di Wedding that all the issues are needlessly amplified to build a sense of drama and conflict. The brazen and unapologetic behaviour seen here extends to the number of product placements thrown into the film. The sisterhood of Dilliwali girlfriends for all their rebellion and nonstop whining and profanities ultimately seek validation in the most conventional way. Veere Di Wedding emphasizes on the need to make mistakes and learn from them. The makers are guilty of not following the diktat.

Raazi never deviates from its mission to reiterate the patriotic fervour of its leading lady who happens to be a Kashmiri. It’s a fascinating situation but little screen time is given to explore the family backdrop. Because as Raazi reminds us, all is fair when it’s a matter of motherland.

Ultimately his portrait of Ahmed Omar Saeed Sheikh inspires neither fear nor disdain. It leaves you empty and wondering as to what drew Mehta to this guy in the first place.

With all the bad cards played – backstabbing, lies and mudslinging – Daas Dev drags on to a predictable end. The shades of Mishra’s last great film Hazaaron Khwaishein Aisi are evident in the climax but this film is no match.

Unlike Deo-directed Delhi Belly! Blackmail’s black comedy lacks pace and absurdity for viewers to be entirely sold to the events. Plot contrivance comes in as all characters indulge in blackmailing far too easily and with little repercussions. You stick around for the Irrfan show and he doesn’t disappoint.

Some scenes may invite the eye roll for their mawkish quotient but even in them you can’t take your eyes off Rani Mukerji. In her first film post motherhood, Mukerji reminds why she is one of the naturals in business of pretence. Rarely does Mukerji hit a false note as the driven and happy-go-lucky Naina who refuses to play the victim card and goes about embracing the kids that are not all right. It’s her true grit that makes Hichki appealing.

As Aiyaary trudges to the finish line, Pandey belatedly throws a housing society scam, clearly inspired by Adarsh. It’s the only part that resonates thanks to Shah in fine form and adorable strays in the frame. Lest it seem that the repute of Indian army is being questioned and its work being discredited Aiyaary hastily celebrates its valour and loyalty. But the film makes the mysterious world of military intelligence a big bore.