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at the film industry can’t hide how David Dhawan’s idea of funny is loud, sexist, mostly cringe-worthy and frankly too outdated.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.

Daddy isn’t lionizing or demonizing its hero but in its neutral stance it is also does not do a credible job of making him compelling for the audience. As Gawli makes a plea for an opportunity to redeem himself by doing public service one wonders if the Shiva devotee knows that karma’s a bitch and it always catches up with you. Audiences won’t cheer nor be mesmerised by Daddy and it’s this detachment from the leading man that is Daddy’s biggest pitfall.

The nonstop action is a distraction for a lack of narrative. Luthria’s great truck robbery is a thriller without thrills.

Siddiqui is in command here be it as the hitman or the passionate lover but there is only so much he can do in a film which for all its activity of backstabbing and killings gradually begins to lose momentum. Babumoshai Bandookbaaz sticks to the crime drama template of guns, girls, sex and foul language, but ultimately like its hero runs short on ideas to keep the viewers hooked.