Two scowling cops bumble their way through a contrived plot…

An enjoyable ride derails in the finale, and you wonder when will we see a film where Ranbir Kapoor, for all his efforts, dammit, gets the girl. A lazy attempt at emotional manipulation apart, Ae Dil Hai Mushkil delivers on nearly all it promised.

Devgn has clearly put time and effort into his direction,but appears to have put less into his performance. Neither makes the grade. And let’s face it, there can only be one Liam Neeson.

You are almost willing to forgive the cheesy emotional climax especially when it ends with Cruise’s electric smile. This one’s for Reacher, Cruise and Child fans alone.

As far as thrillers go, The Girl on the Train works hard to make every player seem suspicious but the result isn’t as juicy or caustic as Gone Girl, a hit adaptation in roughly the same genre.

As the last scene ends, the following phrase comes up on screen: ‘Never take a woman for granted’. A noble sentiment, but in filmmaking one should not take the script, screenplay or craft for granted either.

Though it’s called Freaky Ali, Siddiqui’s Ali is the least freaky of all the characters and his performance is the only reason this film is not a complete washout.

Interspersed with PJs, rife with stereotypes and a shockingly insipid soundtrack of Hindi songs (not EDM), tackily shot, edited and styled, with a range of unschooled performances (I have seen 10 year olds behave with greater restraint and maturity than most of these adult characters), SMTT is at best a tacky advertisement for the EDM festival.

These overlapping stories about Mumbai city display a variety of emotions…

Director A.R. Murugadoss pays lip service to social causes such as acid attack victims, mental illness and the hearing impaired while triple-underlining the message of women’s empowerment. For every stereotype Murugadoss sets out to break, he leaves behind one…