Bombay Velvet is too bloodless to stun, too passionless to stir…paints a pretty postcard but not the soul of its decade.

Everything about you and your precious relationships spoke to me, stirred me and I wish you could hear how deeply you touched me…

…is a hasty uptake of news channels and papers drawn into a skit that’s too short on subtext to be a realised satire and too silly to be taken seriously.

Ultimately, between its sentimental leanings and farcical outbursts, the superficial sermonising of Dharam Sankat Mein remains just that — superficial.

Cinderella is certainly destined for business.

But because it’s in able hands, it doesn’t ruin your association with the classic by merely recycling what you already know. What it does is remind you of that forgotten virtue called grace and the timeless thrill of watching a garden pumpkin turn into a golden chariot.

An underwhelming climax, sadly, dilutes the triumphs of the stark thriller.

Its consistently realistic tone plummets into standard avenging angel territory full of over-the-top theatrics and stylised rage.

This compulsive need for a last word kills the impact of many a strong, better-off-silent scenes in Hindi films.

Badmashiyaan does not have any real plot to tell so it crams the script with numerous characters, who enter and leave at will…

Ab Tak Chhappan 2 is so terribly obvious in its deviousness, there’s not even a smidgen of surprise to expect…

Dum Laga Ke Haisha is a series of riveting moments that make you moist in the eye and chuckle with joy.

Roy is so tangled in its inflated, erratic ideas of a pseudo mystery around parallel lives and loves that it ceases to make sense even before it takes off. Mostly, though, it’s just slow torture.