• The idea is to project mess and chaos. Indeed surplus characters and subplots often make YSZ an overwhelming experience to endure. But if you are up for the challenge to explore Delhi’s shifty facet, it’s rewarding too. What’s most fascinating is how everyone has a sense of humour about their situation, which is inevitably on the sticky side. Saali or sane, this Zindagi rocks.

  • …it’s Imran and Sonam’s collective persona and their free-flowing chemistry that makes all the difference. Although the pair deserve better than an amateurishly written romance to scoop out their terrific potential as a combination. I Hate Luv Storys is, at best, a promising even if imperfect indication of things to come in the direction.

  • Rarely are grace and profanity cited in the same breath. Debutant filmmaker Abhishek Chaubey’s Ishqiya, however, is a privileged exception.

  • Behind the fine prosthetic make-up, it’s virtually impossible to recognise Bachchan or his trademark baritone. The actor tempers his voice into an endearing wispy tone with a slight accent, almost as if an inebriated Anthony Gonsalves was dreamily mumbling in his sleep. Coming to Auro, the heart, beat, soul, spice and sweeping factor of this film, he doesn’t need any warming up to. Big B’s Auro wins you over the moment he makes his bouncy entry in the assembly hall to grab a prize for his ‘fluke’ creativity.

  • Wake Up Sid has its heart in place, but it still doesn’t have much of a plot or novelty to rely upon. That’s why the dialogues could have done with a little more quirk and nifty humour. Having said that, a superlative Ranbir makes it too darn hard to notice.

  • Jab We Met starts out like a run-of-the-mill fun album. But along the way, it springs quite a few mellifluous surprises. Let’s hope the movie will have the same quality.

  • Khosla Ka Ghosla scores for its unusual plot (pun unintended), spirited wit and great acting jobs. But even at a mere eight reels, the film feels longer than it is.

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