While the first half is pacy, fun and eventful and spearheaded fabulously by Ranaut, the second is a disappointment. Devoid of ideas to reach the inevitable climax, Rai crams it with wedding festivities (three in a span of an hour) and far too many songs, which drag the proceedings and contribute little to the story.

Kashyap’s foray into mainstream is ambitious in its scale but flawed in its execution.

It is for Kalki’s fine performance and Bose’s commendable effort to treat its lead just like any other person, we recommend watching Margarita, With a Straw.

Bandopadhyay’s stories are a page-turner. The same cannot be said for Banerjee’s story which while it is ambitious on scale falls short on pace and thrill. Banerjee gets a tad too indulgent with the technical crafts. It comes at the cost of a lack of engaging tug-of-war between Bakshy and his nemesis; Banerjee and Juvekar don’t manage to give him enough weight in screen time. The editing is sluggish which only hampers the narrative. Overall, the canvas is great but the work on it leaves a lot to be desired.

Unlike most, this sequel is not totally superfluous. Parker’s screenplay gives almost all the central characters something to occupy themselves with, though only a few have well-detailed journeys. The film, however, is best when it focuses on key issues of old age with subtlety and dignity, never making it mawkish. That Madden and Parker have Smith taking on that responsibility on her firm shoulders makes the film worth a watch.

Cinderella is a colossal waste of great talent and viewers’ time.

Hunterrr has its share of dirty jokes, frivolous fun and the uninhibited moments which will increase its appeal from boys to men. However, one wishes that as the film reaches the always foreseeable end there was a better depiction of Mandar’s redemption.

For an action drama, there is a lot of talk in Ab Tak Chhappan 2 but not all of it is worth a listen. Obviously, Patekar’s Agashe has the best lines as he shoots wisecracks and indulges in sardonic talk. Some of it draws a few laughs, making it the only redeeming bit of the film.

Dhawan’s attempt is earnest but the laboured performance leaves you desiring for more especially when you are up against the more assured and at ease, Nawazuddin Siddiqui.

For a film about inspiration, Roy fails to inspire any emotions other than frustration.