• The title of the film, “Chauranga,” which means four colors, does not justify itself properly. Equally limp is the film in its ability to deliver a strong message. The slow pace and lack of high octane action, leaves it looking like a slice of the Dalit life.

  • …would appeal only to the urban audience, as the others would neither relate to the characters nor some of their shocking behaviour.

  • “My father only gave me the name Malala, he did not make me (the person I am), Malala,” is the only blunt statement in this documentary that hits the nerve at the right spot. This spontaneous response, from Malala Yousafzai, shows that she has the spunk and a mind of her own. Malala is a perfect subject for a great documentary but unfortunately this documentary lacks her spirit.

  • Hotel Transylvania 2, is about the need for open mindedness in life and love, in its entirety is a feel good and fun film which is neither ghoulish nor overtly comical, where the message is simply lost.

  • With dialogues packed with rhymes, mispronunciations and double entendres, the film is a delightful adult comedy that keeps you in splits by the minute. The characteristic one-liners are crisp, tempered and never sound crass. If not funny, it at least elicits a chuckle.

  • Depending heavily on cultural cliches and crisp one liners, this comedy drama written by Mitch Glazer is an easy watch. But the issue with the script is that it switches from an adventurous tone to a moralistic tale halfway through the narration. The change is sudden, unforeseen and completely derails the film from its original track and goal.

  • At the end of “Calendar Girls”, the film simply states: “Life is all about the individual choices we make.”

    One wonders, if this is actually a warning message for those who intend to watch this film.

  • The humour comes in the form of witty dialogues and the situations, albeit oft seen and forced, with no logical links.

  • While the plot is uniquely layered and the film is interestingly designed, it is the writer’s carelessly adopted formula: “Show only what you want the viewers to see”, that leaves gaping holes in the plotline.

  • With modest production values, Naren Gedia’s camera work captures the essence of the film decently. But it is the initial lengthy single shot, taken on a rotating trolley in the canteen scene, which is an eye-sore.

    Overall, Meeruthiya Gangsters offers nothing exceptional.

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