Top Rated Films
Sukanya Verma's Film Reviews
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A mostly watchable thriller marred by its director Sanjay Gupta’s penchant for excesses — a greenish yellow filter that renders the frames more sickly than stylish unless it’s some sort of bizarre metaphor for Ash’s light eyes brimming in agony, a pounding background score that’s so commonplace it serves little purpose and terribly reckless use of slow-motion.
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It’s the kind of laughable progressive where Akshay first elicits women empowerment (a forced afterthought in too many movies lately), gleefully watches his feisty heroine batter a bunch of baddies into pulp only to be downgraded into a powerless spectator watching her hero take down more men then Sunny Deol must have tackled in Gadar through its over-the-top, prolonged climax.
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The few jokes that do work in this illogical, tardy drivel have more to do with how idiotic they are then amusing. But mostly you cringe at the sight of Kapil posing next to the full moon from a multi-storey’s terrace whilst his starry-eyed wives conduct the Karva Chauth ritual for the four-timing half’s long life.
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Katti Batti is infuriatingly indecisive… Even a radiant Kangana cannot rescue it.
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Unsurprisingly, this struggle to fit a modern-day romance in a dated template prompts a patchy, wobbly, bizarre, humourless drama proving an uphill task for two rank newcomers to tackle.
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Even the one-to-one scuffle is much too monotonous and mundane; you see far better action on television nowadays. Unless a 95-minute long excuse to advertise Audi, Omega or Apple is your idea of a mindless action movie, steer clear of this mechanical junk.
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Manjhi is watchable purely because of this actor’s grasp of a willful, persevering personality recognised by his passion not poverty. It’s a distinction Nawaz duly delivers, if not the film.
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What you get is an earnest Khiladi sporting his graceful greys in a movie that’s too cosmetic, loud and exhausting to take notice.
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Even if reduced to a ‘relic of a deleted timeline,’ Schwarzenegger is easily the only attraction of this wishy-washy sequel, prequel, reboot, offshoot, whatever. But that’s no reason to overstay one’s welcome even if it’s an iconic character. Rather especially if it’s an iconic character.
Like an old colleague of his said to him in another movie, ‘You’ve been back enough.’
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Reliably, ABCD 2 livens up when the action shifts to stage, thanks to some splendid choreography by the inspiration behind its source — Suresh Mukund and Vernon Monteiro (featured in the closing credits). Even if you’re not a fan of this sort of dancing, the upshot of the troupe’s sheer coordination and dedication is tailor-made for applause, a sentiment you increasingly experience in the concluding half of the movie.