Arjun Kapoor, Parineeti Chopra’s romance suffers from a dull, infantile script…

The trailer of this film tells you almost all there is to know. Take that three minutes and add another 172: The main feature is a bloated narrative that skirts almost three hours. If the filmmaker had cut out the vapid first 15 minutes, and the black and white scenes (a narration device), think how much electricity and time could have been saved – not to mention how much more tolerable this film would have been.

Paltan is more testosterone and male ego than strategy or drama and, surprisingly, it’s tentative even in its jingoism.

Looking back at my thoughts on the second part of Yamla Pagla Deewana in 2013, it struck me that, besides changing a few names here and there, I could copy paste the analysis, sentiment and pain of that experience and it would be equally applicable to Yamla Pagla Deewana Phir Se.

Satyameva Jayate is a fairly illogical commercial thriller fronted by two actors who deliver forceful performances. It may not be the most intelligent thriller, but its lack of pretence is its greatest asset. It’s entertaining for some of the right reasons, and plenty of unintended ones.

A weak script with some directing inconsistencies, Fanney Khan had room to be an enjoyable comedy or satire. Instead it careened towards over-the-top melodrama with debatable messaging.

An energetic and physically immersed performance compensates partially for an absence of tenor. Mohanan too cannot overcome her rawness and one wonders if this is a fallout of the director’s inability to breach the language barrier. Together their effort might be sincere but the effect of a lack of cohesion eschews the very emotional gravitas Beyond the Clouds works so hard to achieve.

The 3D part in the film is a waste. The intent behind Welcome to New York leaves many questions – why is the main one. Why 3D, why make this movie, why give Karan Johar a double role, why not use more cameos? Why watch this indulgent snoozefest? That last question is the only one with a clear answer.

Despite their best efforts, the moments between Bedi and Menon are awkward and though the seasoned Menon throws in all he’s got, even his handlebar moustache looks weary by the end of this sobering slog.

A fellow audience member described it best: It’s like an onion—you cry as you peel it and you can keep peeling it and keep crying, but you can also stop at any time.