• Visually the film is seductive – pink saris in sepia dehaat — but its message is scary. While I had severe problems with its glorification of vigilante justice, there were a few moments when I was both thrilled and moved. I am ashamed.

  • Shaadi Ke Side Effects is a greater film on screen than it is on paper because it has the talented Mr Akhtar and Ms Balan. Both bring warmth and a mature, knowing naughtiness to their interactions. They are fun to be with.

  • Aamir Khan and the film’s director have Robert Downey Jr’s Sherlock on their mind. They believe that some exaggerated posturing and a bowler’s hat will get the job done. It’s doesn’t.
    The film Dhoom 3’s producers paid for was meant to be a grand, seductive, dizzy journey. Unfortunately, our travel companions on this journey are old fogies who have seen and shown us better days.

  • …is stretched, dragged and pulled in all sorts of irrelevant directions just so it covers the remainder time.

    Prabhu Dheva’s films are infantile fantasies that seek to gratify the fragile male ego and libido. Any further analysis of this imbecility would be a waste of time.

  • Mickey Virus is an okay film that’s powered by its first half, when it is with Dilli ke bachche who wear funny T-shirts, speak sadak-chaap language, but are accomplished and cool. Varma’s Mickey Virus is the latest in a long line of films set in saddi Dilli. The film’s dialogue writers have very creatively used Dilli ki patent Hindi-Punjabi, and kept it funny and crisp. But for those not in Dilli state of mind, some topline words/phrases require translation:

  • ‘Phata Poster Nikla Hero’ has several themes that are similar to ‘Andaz Apna Apna’, but its slapstick is not as sharp. ‘Phata Poster…’ misplaces its funny bone and begins to wobble when it’s barely half way, and though it tries to resume the gag, it’s just not up for the task. Which is not to say that ‘Phata Poster…’ is not fun or funny. It is. In parts.

  • There is no reason for ‘Hum Hai Raahi Car Ke’ to exist except that producer-director Jyotin Goel’s son, Dev Goel, is now of kissable age and has acquired muscles — feats that daddy dear thinks deserve a public audience.

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