MAATR starring Raveena Tandon just pretends to make a social statement about rape and revenge and in reality struggles even to be a routine escapist film that does nothing significant for anyone involved. MAATR (motherhood) is Maatr (just) an addition to the list of Bollywood run of the mill badla saga – See more at: http://www.glamsham.com/movies/reviews/maatr-movie-review.asp#sthash.M2tyXNs0.dpuf

A plot that could have been a powerful eye opening metaphor on ‘mata’ (read women) and ‘bharat mata’ turns into a disturbing, over blown, deliberately hysterical and forcefully sensational misadaptation of the brilliant National award winning Bengali film RAJKAHINI. Shockingly, the creator of RAJKAHINI Srijit Mukherji is the destroyer of BEGUM JAAN which sees the fiery and determined Vidya Balan fighting a lost battle in this flimsy piece of cinema.

After NH10, the promos of PHILLAURI promised some fun but it sadly ends as a pun on itself in trying to do so many things in one film, a comedy that too supernatural one and an old fashioned romance that forces the friendly spirit to hang out from the screen wondering who is suppose to take charge of the proceedings.

RANGOON is an epic misfire and the movie has demonstrated the desperation of Bhardwaj in trying to please the gallery in the end and that is more alarming. Bhardwaj’s was ‘successful’ in his unique pail of dramatics seen in his re working of Shakespearean tragedies and remarkable brilliance in KAMINEY that was never designed to please the masses, this attitude placed him in the top ranks of serious helmers but in RANGOON I found that Bhardwaj lost in his junoon ( passion) to get the maximum.

Going by the plot and theme RUNNING SHAADI could have been a humourous take on the wedding and love scenes in India and the expose of the dangers of social media and pros and cons of marriage portals but it ends up as a waste opportunity.

Apart from the funny use of cobras that was unnecessary plus the political statement made by Asmita during her introduction to Jack, KUNG FU YOGA takes the audience for a ride. Sonu Sood’s palace where he pets Lions and Hyenas is said to be in Rajasthan but actually it seems to be shot in Dubai.

While the director Zaigham in spite of his pious effort and meaningful message fails to uplift the film into a significant chapter that invites debate and have its cinematic stay due to its laziness in nuances and novelty in presentation restricting it to juts a serial on the subject getting played on the big screen.

Surprisingly, RAEES (meaning rich) is not just a GARIB (poor/average) film it’s GARIB in its entertainment quotient as well.

After the insipid scripting, the lack of connection of Nawaz and Shweta with the audience becomes the movie’s biggest drawback.

Further during the climax when we pray that this tepidly misguided attempt will reach to some conclusion, a dark, abrupt end makes the matter worse leaving the audience in confusion whether to scratch their brains or tear the screen in which they have just seen HARAMKHOR – ironically, the makers have managed to objectify the movie’s title in the end. BRAVO. What an art!!

I didn’t hate BEFIKRE but that doesn’t mean that I loved it either. The adorable Ranveer and Vani made it watchable but not lovable.