All good things come to an end so that they aren’t stretched and made bad. Perhaps they should listen to the advice of their own creation Hunny who says “Yeh aukaad ka zamaana hai”. Not risking another Fukrey unless they have a amazing trump card up their sleeves would be a step in that direction.

Despite a running time of 95 minutes, Kadvi Hawa still feels a laboured watch. Nitin Dixit’s screenplay trudges along, not digging deep into what has created the harsh landscape that has made the farmer woes from bad to worse.

Ribbon is an insightful and mature relationship drama that showcases the trials and tribulations of parenting in the city. In a way it’s a perfect companion piece to Vikramaditya Motwane’s Trapped in which a young man is pushed to his mental and physical limits as he becomes a forgotten entity in the crowded metropolis.

Rukh has its moments as a story about a son driven to ensure that his father’s reputation is not maligned after his death. But as a tale of a teenager seeking answers and atonement and a suspense around a death it doesn’t arouse much interest. As Mukherjee lingers on with the far-too-restrained tragedy, it’s the performances here that deliver. Tambe does a credible job as the grieving wife-mother struggling to cope with a death. But the shining, all-too-brief, star here is Bajpayee whose work brings this drama the poignancy it needs.

In Golmaal Again, director Rohit Shetty takes pains to have a story even though the goal is the same: to laugh at all costs and here is our movie review.

The film is not pitch perfect, but it has few memorable moments and a superstar-in-the-making in Zaira Wasim.

Menon throws in a decent mix of father-son friendship and footage of food to keep Chef from falling flat. Some delightful moments emerge courtesy the generation gap between Roshan and Armaan. Credit goes to chef Sandhya C Kumar for picking out an array of dishes that will either make you step out for a meal or put on the apron on to attempt making the rotza. Ultimately  Chef is that rare Hindi film that celebrates India’s diversity of cuisine and its unfailing ability to whet our appetite and for that alone it’s worth a watch.

…even Varun Dhawan ‘s high-octane performance which includes many digs at the film industry can’t hide how David Dhawan’s idea of funny is loud, sexist, mostly cringe-worthy and frankly too outdated.

Siddhanth Kapoor gives Farhan Akhtar stiff competition in being the dullest Dawood Ibrahim on screen this year. 

Omung Kumar’s obsession for stylised cinematic moments is more melodramatic intolerable fare. Raaj Shaandaliya writes the most cringe-worthy dialogue of the year to reinforce the trauma inflicted on the father-daughter duo. Originality here means coming up with demeaning games such as ‘hide and cheekh’. Its sleazy villains cross all borders of morality with their innuendo talk. The end result is a film which is an assault on the senses.