The erstwhile documentary filmmaker craftily remarks at our tendency to uphold superstition over science as well as the ridiculous expectation from a section of citizens to constantly validate their nationalism as the ongoing debate of growing intolerance rages on till today. Scenes where Salman and Tangu compete over a high decibel of Bharat Mata Ki Jai reveal deep-rooted prejudices.

Alas, not enough to be dazzled by the boring, bogus naiveté of Tubelight.

This brand of funny by the virtue of I-know-I-cracked-a-bad-joke doesn’t quite tickle…

Watching Raabta possibly can’t be anyone’s idea of entertainment in this birth or last…

‘Jack Sparrow’s rum-swigging, goofball pirate has gone from subversive to stereotype.’
‘The bar’s slipped so low that even “decent” seems like a significant upgrade from status quo.’

The constant issue in Half Girlfriend is its wimpy characters and the contrivances they resort to arrive at its predictable conclusion.
Stupidity is responded with equal, if not more, stupidity…

Everything that I dislike about Bindu could also be used to her advantage in creating an unapologetic, compulsive attention seeker. Except under Roy and Sengupta’s infuriatingly daft and regressive outlook, Meri Pyaari Bindu relapses into indefensible stupidity. 

In a performance marked by amazing maturity and restraint, the actress conveys the dark, brooding and internal process of recuperating from grief and finding closure.

It’s obvious she feels strongly about Maatr’s theme and her sturdy ambition is the only thing that holds your interest even when the film does not.

So long it’s true to its confection roots, Noor works, thanks to the attractive bonhomie Gill and Kohli’s real guy appeal generates around Sonakshi’s star. But when it engages in shallow activism for the heck of it, it rambles and drags. 

The shabbily picturised sequence of women blindly firing into nowhere upholds Begum Jaan’s flimsy, ill-defined rebellion where Mukherjee draws epic parallels to their resistance.

It is as reckless as Radcliffe’s.

Funny how after dodging dramatic vigour like a shortcoming, even at places where it would be viewed as benefit, Lal succumbs to a gimmick of a climax. The special effects are seamless but for a story that circles around a spirit it’s a pity how little one sees of it in the movie.