• Nostalgia is one of the strongest characters in Meri Pyaari Bindu, but it’s unlikely that the target audience for this kind of frothy romcom would warm up to that, and those who would are perhaps seeking more heft.

  • The action moves smoothly, even though the songs do slow down the narrative. You hardly feel the 171-minute running time, nor do you tire of seeing Prabhas and Anushka Shetty on the screen. Shetty, in particular, elevates the acting standard as the principled, independent, free-spirited princess Devasena who is dexterous with the bow and arrow. Her relationship with Baahubali leads to the most significant conflict in the plot.

  • A heartwarming tragicomic tale about life, death and reconciliation…

  • The film handles that with reverence and sensitivity while addressing it’s additional motive: to deliver a message about realising dreams, maximising opportunities, encouraging the marginalised to break out of community constraints and caste shackles.

  • It barely works in this case largely due to the script, but in part because of Pannu’s deadpan expressions and in part because of director Nair overtelling it. Much more effort has gone into creating an authentic milieu than crafting an engaging character study in the foreground.

  • M. Night Shyamalan comes close to recapturing his former touch…

  • Kung Fu Yoga could have been a fun mash-up of Chinese martial arts and Indian acrobatics. But for that it would have needed a script, which seems to have been misplaced, and some decent performances. Chan shows some sparkle with his swift movements and appealing shyness in the presence of Patani, who delivers lines like she’s reading a speech.

  • Then there’s Damon, as a medieval Jon Snow. You can only surmise that there must have been a fat pay cheque for the Oscar-nominated actor to be a part of something so undercooked and soulless.

  • If you are able to look past many of these niggles it’s thank to Hrithik Roshan’s committed performance which keeps you rooting for his Rohan all the way.

  • Though the scenes are repetitive, Sharma does succeed in walking the edge between intensity and airiness and transporting the audience into this simple and confined world. As the uneasiness builds, you brace yourself for an explosive end.

    Unfortunately, when it does come there is a sense that everything that preceded it was designed to lead up to it and, as grisly as it is, like everything before, this scene too does not move you. I didn’t feel for any of the characters and I was let down by this emotional disinterest.

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