• I did feel that he did go a little over the top, sticking to a predictable underdog story line. Stanley ka Dabba, was in many ways a far more restrained, nuanced and subtle film that really shocks and pains you. Hawaa Hawaai doesn’t quite have the same effect but it’s still a film that plays to win and has its audience firmly on it’s side, laughing, crying, cheering and praying for the boy to finally fly.

  • What we have in the end is not an amazing Spiderman, but a mildly engaging, intermittently interesting and ultimately disappointing Spiderman.

  • It takes all of fifteen minutes to realise that you are watching a desi version of Kill Bill in Revolver Rani. Its got Quentin Tarantino written all over each and every sequence, the director having broken the film down into just that — a series of well-orchestrated sequences. And in tune with director Sai Kabir’s aesthetic inspiration, Revolver Rani exudes Tarantino style pulpy kitsch, much to the amusement of an unsuspecting Indian audience.

  • Though derivative, Divergent is yet another example of how female actors can carry a big budget film on their shoulders and if not for anything else, this genre needs to be given due credit for introducing strong and gutsy women as sole leads who can start revolutions if they wanted to.

  • The end in such films is never really a mystery, it is how you get there that counts, and Main Tera Hero unfortunately takes a long, meandering, and utterly boring route to get to the climax we all saw coming two minutes into the film. Here’s hoping David Dhawan returns to form some day with a film that doesn’t quite gnaw at one’s brains as Main Tera Hero did.

  • Unfortunately, the fact that Leone is in a film that pays greater emphasis to her body and sex appeal than plot and character serves to undermine her campaign for respect considerably. She heaves, pants, sighs and roams around the house in her under garments, much to the delight of the male audience. Using the classic horror film trope of the scared girl in distress, the film is a voyeuristic cliché that disturbs more than it scares.

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