• Vidyut Jammwal’s action-adventure film is well-intentioned but lazily executed

  • ‘Dumbo’ gets by on the charm of its titular character…

  • Bachchan is commanding as always but Pannu earns neither sympathy nor surprise, whereas Amrita Singh achieves both in her decisive role. If revenge is a dish best served cold, this one isn’t icy enough.

  • Utekar directs what can best be defined as an overwritten dummies guide to live-in relationships. There is so much drag in this 126-minute film that even the occasional build-up of momentum is punctured by the next chapter of humourless nonsense, such as a bizarre dream sequence with a child getting married and a scene at a temple.

  • …the film attempts to deliver a mixed message about how animals living in captivity need to be saved from avaricious developers. In the process, as they set aside their selfishness, this collective of crazies finds their conscience and we find a quick exit from the cinema.

  • The timeline of Thackeray is conveniently engineered to delete the unflattering, the sensitive and the problematic mandate. What remains are elements that buoy up the founder of the Shiv Sena and paint him in resplendent saffron. The colour-agnostic are likely to find this portrait as fascinating as it is disturbing.

  • Emraan Hashmi plays conman with flair but is bogged down by convoluted screenplay

  • I came away with Akshaye Khanna’s smug smile and his jaunty walk. He is conspiratorial throughout, occasionally pensive and seemingly having the last laugh in an inelegant adaptation.

  • What Dhar squanders on the screenplay, he makes up for in the details. Stefan Richter’s carefully designed and executed action scenes, Sashwat Sachdev’s thunderous background score, sound mix, sound design and special effects simulate authenticity. As far as war dramas go, Uri: The Surgical Strike is a confidently made film that comes out guns blazing. And when the guns are not blazing, Kaushal certainly is.

  • As a pure fantasy feature, there was an interesting idea in Zero. Carefully designed to appeal to Khan’s core demographic – the family – while providing scope to invent an endearing character. The flaws of Zero lie not in the physicality of the characters, but in the story. Too ambitious in its vision and indiscriminately illogical, Rai falters in exploring both inner spaces and outer space. Even at 164 minutes, the narrative lurches from scene to scene, and before you can say ‘Houston we have a problem’, incredulously Bauaa is suiting up for a space odyssey.

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