• In its own subtle way, Veere Di Wedding also tries to subvert the male dominant stereotype but these moments are so few and far between that you almost miss the point. It may be a buddy comedy but it is not among the best in the genre, not even top five.

  • With a tighter editing, slightly less focus on the wannabe love story and a lesser dose of melodrama, Raid could have been a gripping thriller.

  • Dil Junglee is an age-old story, told with a hundred stereotypes, none of which helps it. It is only Taapsee’s charming presence and Saqib’s earthiness that keep us entertained. Taapsee looks authentic in both the avatars that she dons in the film. Saqib, too, provides ample support with his realistic portrayal of a middle-class Delhi boy. In fact, almost all the actors — Saqib’s mom, his friend, Taapsee’s friend and his fiancée — make the film lively.

  • The one thing that worked for Pyaar Ka Punchnama films was the relatability, even if it was restricted to guys-only discussions. Sonu Ke Titu Ki Sweety doesn’t have that, nor is it funny.

  • Zain plays RJ Alfaaz and Shray essays the role of Archana’s friend in the film who nurtures feelings for her. Interestingly, Onir has also cast all of his characters with perfection. Be it Archana’s mom or RJ Alfaaz’s girlfriend, each actor has a remarkable presence in the movie.

    It is just the stretched narrative that fails them all.

  • Debutante director Samir Soni starts off with an amazing idea which is failed by its execution.

  • Saif Ali Khan outshines a sloppy script…The Saif ALi Khan-starrer is a thriller at best and an attempted comedy at worst.

  • If there is one positive thing that emerges from the movie – Kapil flaunts his acting skills and proves he can play the serious, sincere man as convincingly as the charmer he mostly plays on his shows.

    It is sad that Manga’s character is not well defined, rendering Kapil’s act and efforts useless as the film turns out to be tedious and monotonous.

  • Ribbon rakes up a lot of issues that deserve at least a discourse in the current scenario, but instead, ends up only fleetingly touching these. Neither the characters nor the narrative take upon the evils and the evil-doers.

  • Kalki is perhaps the only good thing about the film. Unfortunately, the script and dialogues do not leave much scope for her. There are precisely five minutes in the film where I could actually feel the emotions onscreen. Other than that, even Kalki’s acting could not save Jia Aur Jia from being an utter bore that borders on torture.

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