All said and done, I conclude by recollecting the scene from the movie’s climax where Salman khan makes his grand cameo in a double role. Both the judwaas – Salman and Varun make a jig at ‘tan tana tan tan tan tara’, Varun says very good and asks Salman to do it once again, Salman Khan obliges, Varun asks for ‘tibara’ (third time) Salman Khan disappears.. TAN TANA TAN TAN TAN TARA..kya kare Varun bechara..

So much liberty was taken, Shraddha could have easily chewed a pan and that would have been better. Even in such a film, Shraddha managed to get a scene in rain. Batao…

BHOOMI brings back Sanjay Dutt to his karmbhoomi, like a seasoned warrior Dutt lovingly called ‘baba’ makes an impact and his screen presence is charismatic as ever. Watch it for Sanju Baba

On paper this looks like a thrilling musical but the glaring loopholes and lack of characterization make LUCKNOW CENTRAL an indigestible and unconvincing jail escape adventure.

As the idea behind the title of this film SIMRAN demands an extra dose of patience, tolerance and imagination, Hansal Mehta had an interesting badass women robber – the bombshell bandit to churn into an intriguing piece of cinema like his previous SHAHID and ALIGARH which were based on characters from real life but this time in order to turn a bit quirky it turned murky resulting in a lost bet.

A well crafted frame, searching for a perfect picture.

BAADSHAHO (meaning Emperor/King in Hindi) may not be the promised ‘King’ size action drama but we hope the chautha (read fourth) collaboration of Milan Luthria and Ajay Devgn turns out to be the last disappointment from Milan Luthria who has churned out entertainment, entertainment and entertainment starting from KACHCHE DHAAGE, TAXI NO. 9211, ONCE UPON A TIME IN MUMBAAI & DIRTY PICTURE. We hope Milan Luthria starts entertaining us DOBAARA (again) in near future.

Kushan Nandy’s most ambitious and technically his best film. The fascination to the radicalism of Anurag Kashyap is evident, there is nothing wrong in getting inspired but Kashyap had a clear point of view in GOW and RAMAN RAGHAV 2.0. Even after accepting its gimmicks, sensationalisms and hinterland exotica, the point of view behind BABUMOSHAI BANDOOKBAAZ is not clear, is it a black comedy on sharp shooters, or a morality lesson that crime doesn’t pay?

…things are disappointingly lost in JAB HARRY MET SEJAL, the touted rom com turns out to be a bore com, romance goes surprisingly ‘Phurr’ along with director Imtiaz Ali in this flick.

INDU SARKAR if done by a new comer would have been called as a better attempt but we expected some tight comment from Madhur who gave us CHANDINI BAR, PAGE 3, FASHION and the underrated SATTA.