fillerruth

This is just a typical and very ordinary masala movie. Kannada movies are always my favorite but this one not make any scratch to my taste. the build up was very good that's why I was watching and eagerly waiting for good story and punches but this movie never lived it up. Only Vinod Pravakar's action will blow you. Another good point is some tremendous cameo appearances! Better luck next time Vinod!

The remake stays mostly true to the original. However, the original had better chemistry between the lead actors, hence the love story seemed more effective. While Kabir Singh is a welcome change from stereotypical love stories, this kind of love affair needs some getting used to. Through his protagonist, Sandeep bets all his cards on his leading man, making sure you either love him or hate him, but you can't ignore him.

In this film, relationships come across as a blood sport where the risk of injury is high and only the strongest screw-up will survive. 'Kabir Singh' is truly the survival of the despicable. Their collective action - when they break up - is a crash course on self-flagellation. It's also a much-needed departure from the usual syrupy Bollywood love stories that showcase grand gestures.Put a ring on 'Kabir Sigh' if you are in the mood for watching a love story that's wonderfully wicked and warped.

Kabir Singh is a good watch mainly because of how well the main character is balanced by Shahid Kapoor. Vanga doesn't lose sight of the journey and doesn't forget that amidst all the existentialist dilemmas and song placements, he's telling a modern tale of a toxic male which cannot be justified but has to be told in an entertaining, compelling way. And that it does!

Although Sandeep Vanga does a scene-by-scene adaptation of Arjun Reddy in Kabir Singh, the new take fails to be as impactful as the original. The former also had a long run time, but as a viewer, we didn't mind it as the characters, sequences and emotions were raw. At 2 hours 52 minutes, Kabir Singh works only because of our leading man, Shahid Kapoor. He breathes life into the character of Kabir Singh and showcases a range of emotions from passion, hatred and rage bordering on lunacy. Kabir Singh will definitely click with the youngsters.

Not the typical romantic saga. Unconventional, but powerful. Shahid is outstanding, career-best act. Kiara is lovely. Director Sandeep is an incredible storyteller. Overstretched runtime is a deterrent.

ROMEO AKBAR WALTER is the story of a patriot who takes extreme risks while spying in enemy country. The year is 1971. Romeo Ali (John Abraham) works in India in a bank. He stays with his mother Waheeda (Alka Amin) who is overprotective about him since Romeo's father had died while serving the country. Romeo too has the passion to work for India but is unable to do so due to his mother. However one day he meets Shrikant Rao (Jackie Shroff), head of RAW, and he asks Romeo to join them and spy on Pakistanis on their soil. Romeo agrees and before leaving for training and eventual trip to Pakistan, he lies to his mother that he has been promoted in the bank and that that's why he has been sent for training. In Pakistan, he manages to smartly win the trust of arms dealer Isaq Afridi (Anil George), who's very close to General Zorawar (Purnendu Bhattacharya). While spying on their conversations and activities, Romeo stumbles upon an important information. The Pakistani forces are planning an air strike in Badlipur area of the then East Pakistan. This part of Pakistan is getting rebellious and wants independence. The rebels meanwhile are being trained by Indian forces and a lot of them are stationed at Badlipur, where the Pakistanis plan to drop bombs. What happens next forms the rest of the film.

Robbie Grewal's story is promising and could have made for an exciting thriller. Robbie Grewal and Rahul Sen Gupta's screenplay however is very weak and flawed. The scenes don't flow well and the narrative is quite incoherent. Audiences might not be able to easily comprehend what's going on. There are too many loopholes that even a layman will be able to point out. Robbie Grewal, Ishraq Eba and Shreyansh Pandey's dialogues are well worded but nothing memorable.

Robbie Grewal's direction is not upto the mark. It is evident that he has put in a lot of research but it's of no use when you are not able to use it well. Moreover, audiences won't be able to help but compare the proceedings with RAAZI and it was a far superior product. So this factor also comes in play. Except for the final scene, one doesn't root for Romeo. His bond with his mother seems half baked. Even the romantic track with Parul (Mouni Roy) seems forced. The makers don't even bother to show what happens to Parul later on.

John Abraham gives his hundred per cent. The film might disappoint but he won't. His deadpan expressions work very well for his character. Mouni Roy has an interesting part to essay. Though she does well, her character gets a raw deal. Jackie Shroff is dependable but at places, it's difficult to understand what he's speaking. Sikandar Kher oozes fear and terror and gets the accent right. Suchitra Krishnamoorthi (Rehana Kazmi) is fine but has very little to do. Anil George is damn impressive. Raghubir Yadav (Mudassar) leaves a mark. Purnendu Bhattacharya is okay. Rajesh Shringapure (Awasthi) and Nawab Afridi (Shadaab Amjad Khan) do well.

The music has no scope and seems forced. 'Bulleya' fails to strike a chord. 'Maa' is forcefully added. 'Vande Mataram' is played in the end credits. 'Allah Hoo Allah' is needless while 'Jee Len De' is there for just a minute. Hanif Shaikh's background score is quite loud but works in enhancing impact.

Tapan Tushar Basu's cinematography is appropriate. Madhur Madhavan and Swapnil Bhalerao's production design gives the film a nice retro touch. Same goes for Ameira Punvani's costumes. The clothes worn by Mouni is in sync with the era shown. Prana and Pixel D's VFX is passable. Nilesh Girdhar's editing is quite slow and the film is too long at 144 minutes.

Awesome movie and a very excellent story, great acting, very good direction. First of all, I have to talk about Humayun Faridi. He is the main engine of this movie. Although it is Shimla's movie and Shimla, is the central character and undoubtedly Shimla has performed very well but Humayun Faridi just nailed it. Don't miss this one. Definitely a cult following for Bengali cinema. Director Shahidul Islam Khokon just made a masterpiece. Don't judge this movie by it's title! Watch it and enjoy!

Abhishek Chaubey's very scenic Sonchiriya, tramping along those nooks and crevices of the Chambal, expending hundreds of bullets and quarts of spraying blood, made familiar by countless 'daaku' films of the 70s and 80s, almost always feels like a retread.

The film carries a subliminal lesson that can apply as much to the dacoit as it can to us. Yes, Karma, it says, is a 'b***h' and it will bite you. It's unlikely that those in the cities will identify with this offering. But yes, if you're a curious cinema fiend, Sonchiriya will entice you.

Abhishek Chaubey's direction does justice to the plot and setting. This is a complicated film and on most counts, he manages to succeed. On the whole, SONCHIRIYA is a well-made and a well shot movie with a strong narrative and brilliant performances as its USP. At the box office, its prospects will be restricted as it caters to a different set of a multiplex going audience.

There is a lot of gun violence and blood in the movie, but it never gets overindulgent. 'Sonchiriya' is a different film, and it requires your complete attention. If you are a bit patient with these characters, you will enjoy their quest for inner peace and freedom.

Luka Chuppi is a tiresome tale of a couple from Mathura, Guddu and Rashmi, who decide to experiment with a live-in relationship. They do this by pretending to be married. And all that can go wrong does.The writing by Rohan Shankar is consistently feeble. Scenes are stretched endlessly and the humour is limp. The comic flourishes are underlined by annoyingly loud background music, which cues us to laugh but so little of Luka Chuppi is actually funny.Lukka Chuppi features five remixes which is a sign of the larger issue with the film - there just isn't enough freshness or flair here.

Luka Chuppi isn't without its moments, but its downside overwhelms its strengths by a big margin. It offers shallow entertainment at best. Watch the film only if that is good enough for you.

Laxman Utekar's Luka Chuppi explores the concept of live-in relationships in small-town Mathura and Gwalior, where they are heavily frowned upon. However, despite having top-notch performances and hilarious moments, the film leaves much to be desired as it only manages to scratch the surface.

But what really makes 'Luka Chuppi' an entertaining watch is the nuanced writing by Rohan Ghoge and its execution. The first half is swift and packed with funny moments that end in an unpredictable twist. The second half too, is marked by quite a few laugh-out-loud moments.Overall, 'Luka Chuppi' is a fun ride that never gets too preachy or uncomfortable for the family audience. It's a clean entertainer with a message that's not too loud, but clear, for sure.

Rohan Shankar's story is novel and entertaining and different from other such films in this genre. The characters are very well fleshed out and most importantly, they are relatable. Rohan Shankar's screenplay is effective for most parts and evokes the right humour. At some places however, it is a bit weak, especially in the first half.On the whole, LUKA CHUPPI is a funny take on the modern relationships laced with dollops of situational and funny moments. This clean comedy would get thumbs up not just from the youngsters but also from the family audiences. Recommended!

Be warned, 'Luka Chuppi' isn't a life-altering romantic comedy which sets out to make some grave social comment. It's a light-hearted film - with a scattered, almost fickle, storyline - bolstered by good performances from a sturdy cast. While you may not put a ring on this one, you can definitely live with it for a couple of hours of your life.

Shelly Chopra Dhar's Ek Ladki Ko Dekha Toh Aisa Laga poses a challenge to both critics and viewers. How much can the reviewer reveal about the plot, which unveils its big twist at the exact point at which you are encouraged to shuffle out of the auditorium to the popcorn counter? And what does the average moviegoer make of the subversion of the soppy romance in which boy falls for girl and gets the prize after leaping over a series of obstacles?

More importantly, it can't get more delightfully subversive, for a movie which promises to upend the 'ladka-ladki' binary that Bollywood has coasted on for decades. Here 'ek ladki's heart beats for another 'ladki'. The problem is that there's more subversion in the one-line title than in the entire film, because having stated its purpose, it doesn't quite know just how to broach it and expand on it, and spends far too much stuttering time in getting to the point.

Ek Ladki Ko Dekhi Toh Aisa Laga concedes the unlikelihood of entertainment to change bigoted minds. When Sweety performs in Sahil's play, we see disgusted and intolerant audiences get up and leave. Yet I was struck by the image of an old man, sobbing as he leans on the empty bench in front of him, reserved for VIPs who have left. There will be plenty who leave their seats unconvinced, but this film will make some wonder - many of whom may never have considered it.

This one may not achieve what 3 Idiots did for parents of engineering students with non-technical passions. But it has the recipe for a light-hearted comedy. Also, it subliminally yet successfully sensitises audiences to the challenges endured by same-sex couples when surrounded by those who refuse to understand or accept them.

Why Cheat India can't decide if Rocky is a hero or villain. I don't have a problem with that. What's harder to take is the inconsistent tonality and the convoluted second act. Every time you think the film has reached a climax, Soumik tacks on another end. Because Why Cheat India wants to both celebrate and punish Rocky. But that, like the hybrid of fact and fiction, needed far more imagination and audacity.

But Why Cheat India is disjointed and disappointing, never quite knowing which side it is on, even as it spends time showing us how good students can be ruined by greed, and how parents can put killing pressure on their children in their struggle to break the vicious gap between present debt and potential income.

Why Cheat India is a low-key drama that might not meet the expectations of the constituency that swears by a Rohit Shetty. What it does, and does reasonably well, is address a subject that is real in a manner that, despite its adherence to many of the broad rules of popular Hindi cinema, does not stray too far from the tangible.

The story and concept of Why Cheat India holds a lot of merit, and if the execution was the sharper and steadier, this one had the potential to graduate to another level. Even with the flaws in the story, the film and its various subjects have enough at hand to keep you entertained.

'Greed is good,' Hashmi spits the line from Oliver Stone's classic Wall Street, missing the point of how that film applauded the smoothness of the operator. Why Cheat India moralises without taking a stand. The film has three endings, indecisively shown one after the other - one of which uses a refrain to Hum Honge Kamyaab as an afterthought, pasting it on immediately after another song, diluting any potential impact. This movie doesn't appreciate trick or trickster. It takes craft to be crafty.

The film has its heart in the right place. It mirrors the ills in the education system, putting everything under the microscope. From plain copying to getting 'dummies' to write papers for wealthy brats, you get a ringside view of the paisa phenko, tamasha dekho (throw money and watch the show) syndrome. However, it's never enough for a film to just have good intention. The makers should have definitely paid more attention to the execution. Here was a golden opportunity to give us a movie that would jab us in the jaw. Instead, it falls flat.

A solid, well-packaged entertainer with a powerful message... Rohit Shetty gets it right yet again... And so does Ranveer, who is outstanding... Whistles, claps, laughter assured... Expect a STORM at the BO.On the whole, SIMMBA is a sure-shot winner, no two opinions about it. This one will storm the boxoffice. 2018 is sure to conclude with a roar!

Amidst all this, film delivers what it sets out to do - give us full on masala entertainment along with seeti-inducing scenes. But overall, Simmba is a potboiler that you expect it to be, where the good surely outweighs the bad. There are enough paisa vasool moments including the cameo by the original Singham, Ajay Devgn. And it doesn't end there. Shetty leaves you with a parting shot of another superstar already revealing the first look of his offering in 2019.

Shetty navigates a familiar ground here in this formula film mounted on a franchise that has proven its worth in box office gains. It's not a film that will encourage one to rethink fundamental theories or alter societal thought, even though it aspires to be at one point. But it's surely a masala entertainer that packs in laughs, drama, dishooms and a lot more - now that's more than you can expect for a multiplex ticket.

How Inspector Bhalerao turns from a corrupt officer with a heart of gold into an avenger who goes after the men who have dared to lay a hand on his 'sister' forms the crux of the plot.Ranveer Singh proves a complete package. Rohit Shetty does not veer from his super successful tried and tested formula in Simmba - there is enough action, comedy, drama and foot-tapping music and dance to keep even the thought of a yawn at bay. If you are on the lookout for a totally masala, paisa vasool movie to end the year with a bang, we recommend you watch Simmba. The melodramatic, over-the-top film is sure to leave you on a high.

What would it be like if the characters from Endhiran find themselves inside the plot of typical Shankar movie? 2.0 is what you would get. Using his pet theme - a wronged individual taking revenge on the people who ruined his life - the director gives us a film that is part sci-fi, part horror, part vigilante movie and part special effects spectacle. The plot of 2.0 feels familiar; in fact too familiar. There is no mystery in the supernatural occurrences that we see on screen

The film, however, falls into the trap of a screenplay that has been tried and tested multiple times and that happens to be the biggest drawback of 2.0. If the presentation of the story was done in a tighter manner, it could have worked better for a certain section of the audience. On the whole, without giving up on Superstar's swag, Akshay's performance and his love for spectacularly grand scenes, Shankar presents us with a product that cannot be sidelined. With contemporary touches and technological infusions, 2.0 is a brand that could stand tough against the biggest of Hollywood franchises.

HELICOPTER EELA is the story of a mother and a son. Eela Raitodkar (Kajol) is an aspiring singer and is in love with lyricist Arun (Tota Roy Choudhury). She gets a major break as a singer and actor in a pop song. However, in the middle of the song shoot, the project gets shelved after the underworld gives threats to the director, Mahesh Bhatt. Eela meanwhile gets married to Arun. Their son Vivaan is born soon. All is going well until one day when Arun gets the news that his relative, in his 30s, has passed away. This is when Eela casually remarks how all the men in his family have died before they reached the age of 40. This scares Arun who realises that his end might be near. He decides to abandon Eela, Vivaan and his mother (Kamini Khanna). Eela has to give up her singing aspirations as she gets busy in raising Vivaan. Some twenty years later, Vivaan (Riddhi Sen) is now a college student. Eela is still as paranoid about Vivaan as she was before. Vivaan feels suffocated and he advises Eela to pursue her music or complete her education so that she gets busy and doesn't bug him. Eela decides to do the latter and she joins Vivaan's college. If that isn't enough, she manages to get admission in Vivaan's class. What happens next forms the rest of the film.

Mitesh Shah and Anand Gandhi's story is adapted from the Gujarati play BETA KAAGDO, written by the latter. It is very unconvincing. Still it could have been a bit decent if the script had covered some loose ends nicely. But Mitesh Shah and Anand Gandhi's screenplay is terribly flawed and all over the place. Also certain developments would leave the viewers stunned as it's so senseless. Mitesh Shah's dialogues are okay.

Pradeep Sarkar's direction is very weak. He has given some decent films in the past but HELICOPTER EELA is his worst film yet for sure. Also the film is titled so since Eela hovers around her son like a helicopter. But this is not explained properly in the film. Hence the viewers would be confused with regards to the title.

HELICOPTER EELA begins on a haphazard note. The film then suddenly goes into a flashback mode and the beginning of this portion is quite convenient, especially how Eela is praised by one and all in the music industry. But the worst part of the film is how Arun decides to leave Eela and his family for a silly reason. It is unbelievable how this bit of the script even got approved. Moreover, Eela's education is never stressed upon initially and there was no inclination that she is not a graduate. As a result, Eela suddenly deciding to join college seems random. Post interval, the silliness continues and things continue to happen at random. In a crucial scene, Arun arrives again and one expects things to heat up. But he leaves as suddenly as he comes back. Immediately after this scene, Eela is seen singing the song 'Oh Krishna you're the greatest musician'. Wonder what made the makers chose this song out of all songs. It is sure to induce unintentional laughter. The film gets a bit moving when Vivaan decides to stay away from Eela. The climax as expected is also far fetched and stretched. The end credit scenes makes one laugh wondering what exactly were the makers thinking.

Kajol delivers a fine performance and in some scenes, she does bring a smile and even leaves audiences teary eyed. In the flashback sequence however, she gets over the top. Riddhi Sen delivers a terrific performance. This National Award winning actor remains in his character and does very well. Neha Dhupia (Padma) is fine in a supporting role. Tota Roy Choudhury is laughable. Kamini Khanna is decent. Zakir Hussain (Principal Vivek Joshi) is good but in the end, it's funny to see him getting scolded by a student. Rashi Mal (Nikita) has a good screen presence. Chirag Malhotra (Yash) has an important part and is decent. The cameos by Amitabh Bachchan, Mahesh Bhatt, Ila Arun, Baba Sehgal, Shaan, Anu Malik, Ganesh Acharya etc add to the star value.

Amit Trivedi's music is nothing special. 'Ruk Ruk Ruk' is the best song of the lot and is thankfully not a remix created for the heck of it. It has a significance in the film. 'Mumma Ki Parchai' comes next and has quirky lyrics. 'Yaadow Ki Almari' is a bit underwhelming while 'Janam' doesn't work. Daniel B George's background score is in sync with the film's mood.

Sirsha Ray's cinematography is neat. Madhu Sarkar and Bhavani Patel's production design is rich. Radhika Mehra, Shubha Mitra and Punam Mullick's costumes is appealing. NY VFXwalla's VFX is terrible while Dharmendra Sharma's editing is haphazard.

Sushrut or 'Susu' as he's fondly called, is written off as an unambitious boy, whose only interest is to dance his life away. He constantly faces pressure from his family to find a 'real' job, while he dreams of opening his own garba academy in Vadodara. Over to the United Kingdom; Michelle is at the top of her class, but she wishes to return to her motherland in India. Her father (Ronit Roy) reluctantly agrees; they arrive in Baroda and extend their stay to celebrate Navratri on the insistence of his imposing Gujarati family. During the 'festival of dance', Susu falls in love with Michelle at first sight. He becomes the typical lover boy who literally runs in circles, to follow his heart.

'LoveYatri' is a straightforward love story - nothing more, nothing less. The makers clearly set out to create a sugary film, so they do that with enthusiasm and tons of nostalgic appeal. Debutant director Abhiraj Minawala plays it safe by sticking to a tried and tested formula, focusing on mushy moments to create drama. The problem is that there are too many sweet nothings in between, and that doesn't help an unambitious screenplay. The characters are likeable, but the story doesn't make you feel for them because there is little conflict of note and whatever arises is doused with ease. The songs in the film get special attention for capturing the festivity and mood around garba. Composer Tanishk Bagchi's renditions of 'Chogada' and 'Dholida' are energetic with foot-tapping energy guaranteed to be popular on every Navratri playlist. Vaibhavi Merchant's choreography will inspire plenty to shake a leg as well. The rest of the compositions are catchy enough not to become overbearing as they emerge at the drop of a hat.

It's evident that Aayush and Warina are raw, but both have a charming screen presence with enough chemistry. Since the story requires them to be innocent and naïve young lovers, this inexperience works in their favour. Ayush's boyish appeal is likeable, although his first film doesn't give him a chance to show much range as an actor. Ronit Roy as Michelle's father and Ram Kapoor as Susu's uncle, lead the charge to handle the emotionally heavier dialogues and scenes. Although 'LoveYatri' lacks the gripping appeal of more contemporary romantic stories, it might be just enough to satiate die-hard romantics looking to revisit the love stories of the 90s.

Director Sharat Katariya does take a few cinematic liberties, but there are enough real moments to move you. In a winning first half, he successfully establishes his main characters and their problems. Smart usage of humour in dialogues ups the entertainment quotient, even when the going gets tough for the characters. While the narrative doesn't get too preachy or predictable, the second half is simply convenient. Also, while Mauji's struggle for self-employment finds ample mention, there isn't much to justify his excellence in the craft, except his failed legacy. However, these are minor patches in the overall fabric of the film that is cut for entertainment. Sui Dhaaga is sewn together with strong performances and moments that tell a convincing story.

Sui Dhaaga falls well short of perfection, but it never comes unstuck. It passes muster as a wholesome entertainer embellished with humour, warmth, authentic emotional trappings and actors adept at going seamlessly along with the flow. Definitely worth the price of the ticket, if not more.

While the first half is filled with feel-good moments, the second half gets slightly indulgent as the plot veers towards suspension of disbelief, especially considering the grim economic climate.Sui Dhaaga is a wholesome entertainer which demands that you don't over-analyse it by pulling at its weak threads. It has its sparkling moments - mainly due to the performances of the actors and the nuggets of humour that are thrown in. So why not pin your hopes on Sui Dhaaga?

Director Sharat Kataria's last film, 'Dum Laga Ke Haisha' was appreciated for his knack of capturing the small-town love story between a misfit couple. He brings similar authenticity to 'Sui Dhaaga'. With his writing, he crafts his characters with care and gives us a story that is heartwarming.The film brings back the combination of Sharat Kataria, Anu Malik and lyricist Varun Grover. Songs like 'Chaav Laga', 'Sui Dhaaga' to the foot tapping 'Sab Badhiya Hai' are high on melody and add to the texture of the film. Despite its minor flaws the movie is an engaging

Tatti Gul....oops...I mean Batti Gul...(though that's a more befitting title of Shahid Kapoor's latest release), is a contrived, forced attempt to showcase the problem of power cuts and obnoxious bills that Indians in some part of the country face. Sorry that will be misleading. Because the film doesn't even talk about the issue, it just superficially touches upon it in the first half because the makers are too busy showcasing a weird love triangle, the absurdity of which makes Kim Kardashian and Rakhi Sawant look like the epitome of sanity.

Shahid forcefully delivers a high-voltage performance that come across as gimmicky with an anti-establishment monologue thrown in, talking about the trials and tribulations of the common man, that falls flat. The courtroom drama also snowballs into a revolution of sorts at a national level that is too superficial for a film like Batti Gul Meter Chalu. Director Shree Narayan Singh, who gave us Toilet-Ek Prem Katha, fails to deliver here. You won't miss a thing if you give this movie a pass.

YAMLA PAGLA DEEWANA PHIR SE does arrest attention in the beginning when sutradhar Annu Kapoor gives an introduction about Ayurveda medicines and its importance followed by Puran's introduction. However, things go downhill once Kala is introduced. This is supposed to be a comic caper but throughout the film, there are hardly any scenes that would induce even a mild guffaw. On the whole, YAMLA PAGLA DEEWANA PHIR SE is marketed as a comic caper but there are hardly any scenes that would make one laugh. Disappointing.

This is the third instalment of the 'Yamla Pagla Deewana' series and the first part still remains the best in the lot. The third part completely differs in characters and plot but carries forward the enthusiasm and excitement of the Deols. If you are a fan of the Deols, then this is unmissable. All in all a good entertainer, which got stretched a tad too much.

Overall, Yamla Pagla Deewana Phir Se tests your patience. It's a two and a half hour bore. As much as I love Deols and especially the legendary Dharmendra, it breaks my heart to see them do their best in a film like this. I was extremely happy to see Deols return on the big screen but sadly, the entertainment did not.

Back in 2011, the Deols ticked our funny bone with Yamla Pagla Deewana. It's sequel, Yamla Pagla Deewana 2 turned out to be box-office dud. And now, the third film in the franchise with a new director Navaniat Singh does nothing new to impress. Throw it some Punjab, racist jokes, stereotypes, filler songs, dishoom-dishoom and voila, you get Yamla Pagla Deewana Phir Se. Yamla Pagla Deewana Phir Se is nothing but a yawn-fest. While it feels good to see the Deols reunite on-screen, the trio are let down by atrocious writing and sloppy direction.

STREE is based on folklore and a myth that has found acceptance in several states across India. Set in the Madhya Pradesh town of Chanderi, it tells the story of a bride's wandering spirit who roams the streets for four days during an annual pooja. She calls out to young, unsuspecting men, and if they turn back, she takes it as their acceptance to be with her. Vicky (Rajkummar Rao) is a gifted tailor in this town and he doesn't believe in this myth. On the first day of pooja, a mysterious young girl (Shraddha Kapoor) approaches him to design her ghagra. She shows interest in him romantically and Vicky falls for him. Vicky tells his friends Jana (Abhishek Banerjee) and Bittu (Aparshakti Khurana) about his love interest. Jana is happy for Vicky but Bittu cautions Vicky to be careful of her. Trouble arises when Bittu analyses the situation and realises that Vicky's love interest might be none other than Stree. What happens next forms the rest of the film.

Raj Nidimoru, Krishna DK and Pawan Sony's story is based on a true phenomenon. They make great use of the plot as it's quite fresh and they add the necessary elements to make it better. Raj Nidimoru and Krishna DK's screenplay is very effective and entertaining. The film's duration is just right at 128 minutes and it keeps the audiences engaged. Sumit Aroraa's dialogues are hilarious and very witty. Few one liners are sure to bring the house down.

Amar Kaushik's direction is commendable, considering that this is his first film. He has handled the horror as well as dramatic scenes with panache. However for a horror comedy, the film gets a bit too spooky. Hence, it might be a bit too much for the family audiences. Secondly it seems he rushed through the ending. The build up is excellent but then he finishes it in a jiffy. Also the final scene will confuse a section of audiences and they might come out of the theatre in daze.

STREE begins on a high and sets the eerie mood. Immediately then, the entry of Vicky, Bittu and Jana make things light hearted. The manner in which Vicky and the girl fall in love is sweet. However the horror sequences are also neatly inserted in between. The sequence where Narendra (Aakash Dabhade) gets taken away is quite scary. However the most chilling sequence of the first half is the pre-interval sequence. Post intermission, the oscillation between fun and horror continues well. But the interest drops a bit at this point. Also, the ending has its moments but it's also underwhelming and confusing.

Rajkummar Rao gets a chance to dabble in a new genre and he excels thoroughly. He genuinely gives an earnest performance and is a treat to see him getting spooked, delivering monologues and behaving madly in love. He is sure to bring the house down when he loses his cool in front of Jana and Stree. Also watch out for him in the second half sequence when he's trying to analyse Stree. He's terrific. Shraddha Kapoor delivers a fine performance and has a mysterious air about her as per the character's requirement. In the second half she gets better. Aparshakti Khurrana gives a great performance and he doesn't get overboard. Same goes for Abhishek Banerjee. In fact he's superb in the last one hour. Pankaj Tripathi is hardly there in the first half and he rocks big time in the second half. Vijay Raaz (Shastri) leaves a mark in the lone sequence. Flora Saini plays an important part with elan. Atul Srivastava (Vicky's father) brings the house down in the scene where he talks to Rajkummar Rao about sex. Nora Fatehi is sizzling in the item number.

Sachin-Jigar's music is entertaining. 'Darji' is peppy while 'Milegi Milegi' is the best of the lot but is played during the end credits. 'Kamariya' is entertaining while 'Nazar Na Lag Jaaye' is okay. 'Aao Kabhi Haveli Pe' is relegated to the background. Ketan Sodha's background score is excellent and enhances the eerie quotient significantly. However the sound quality at some places could have been better.

Amalendu Chaudhary's cinematography is ideal and sans any vague camerawork that certain horror films often have in Bollywood. He also has shot the locales of Chanderi beautifully. Madhusudhan's production design is authentic. Manohar Verma and Gulzar Amin Khatib's action is nothing special. Prime Focus' VFX is upto the mark. Hemanti Sarkar's editing is simple and works well.

On the whole, STREE is a unique concoction of humour and horror that floors you completely. At the box office, this entertainer surely has a chance to tickle the audience's funny bone, send a chill down their spine and ultimately give them a roller coaster experience. Impressive!

Happy Phirr Bhag Jayegii s a goofball, lightweight comedy, livened up by an energetic leading lady, a solid supporting cast and a plot that doesn't lose steam through its 2 hour 16 minutes run time.

While the plot twists in this mad caper is predictable, what finally wears down this comedy is its interminable, long-winded length. But it has some smart, sassy one-liners. They don't try too hard at the humour and that has its own appeal. You are likely to walk out of cinemas with a smile on your face, but that smile could have developed into a hearty grin had the length been snipped by at least 20 minutes. But it's still a jolly ride for the viewers.

All said and done, Happy Phirr Bhag Jayegi is one of those films in which you can have fun with your entire family. It has moments which will make you laugh even if you're watching it for the nth time on television years from now. Whatever is the fate of this film, I want a spin-off film of Bagga & Kaylula.

On the whole, HAPPY PHIRR BHAG JAYEGI turns out to be a worthy sequel. Despite the loose ends, it manages to make audiences laugh thanks to its funny dialogues and situations, clean humour and bravura performances. At the box office, it will turn out to be a decent fare.

HPBJ is just as good as HBJ, if not better. It has good music too and for a change, the songs actually add value to the storytelling process. This film takes the ideas of the original and it adds a zany new twist to the proceedings. The goofball humour gets a little over-the-top at times, but that's exactly what works for this madcap comedy.

It's foolhardy to expect nuance from a jaded action drama that not only recycles 80s clichés, but also expects to pull off a reckless revenge in the absence of Amitabh Bachchan's charisma and Sunny Deol's fury. Only Satyamev Jayate's predictable twists and superficial emotions have absolutely nothing new to offer.

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.

Milap Milan Zaveri's story is simplistic, massy and something that the masses would applaud. Milap Milan Zaveri's direction reminds one of the 90s action dramas. Although it works in most parts, at some places the film begins to give a dated feel. On the whole, SATYAMEVA JAYATE is a powerful and gripping drama that leaves an impact as it resonates with the problems of the common man. It is sure to work big time in the single screens where the various scenes are bound to induce claps and whistles. This one is for the masses!

Milap Milan Zaveri with Satyameva Jayate shamelessly gets on the ground just with the thought of entertaining people. Never for a scene you'll feel Milap thinks that this is something 'a certain section' will not appreciate and does what he thinks is the best. Many hits, few misses but a honest product overall. All said and done, Satyameva Jayate provides unabashed entertainment. John Abraham - the Indian Hulk, Milap's seeti-maar dialogues will make you miss the times when masala entertainment was a trend in Bollywood.

'SMJ' desperately tries very hard to sell the age-old idea of revenge and righteousness. But the big booming treatment is a little too hard to accept and digest. With John in the film, one can expect good action, but it's gruesome and a little too bloody at times. Truth be told, the story is relevant in today's times, but too many cliches in the story and the style of storytelling will make you want to cop out of this one.

Hockey, at its best, is an incredibly fast-paced game and any film about the sport has got to capture that inherent momentum for it to work. Gold fails to do that, dragged down by a storyline that puts too much store by the anticipated crowd-pulling power of a Bollywood A-lister. The script, and the real events that inspired it, take a backseat in the process. As a result, what could have been a blinder of a movie barely manages to hobble its way to a climax that holds no surprises because it is a part of Indian sporting folklore.

'Gold' recreates the journey of this spirited and lesser-known team that upstaged the British at the 1948 Olympics and made a statement against the English subjugation of 200 years. Reema Kagti tells an insightful and entertaining story and take us back to that moment in history, which is not often spoken about or celebrated.The first half is slow paced and the film takes quite a while to establish the characters and set up the plot. As we witness India winning its first gold as a free nation, you also see the Pakistani players cheer for Indians playing on the field. Moments like this, make 'Gold' a film which is more just a sports drama. This one is surely worth its weight in gold.

Gold is inspired by India winning its first gold medal as a free country at the 1948 Olympics in Britain. Winning over our erstwhile colonial masters would have been sweet indeed and the story loses none of its strength as it is narrated in Gold. Overall, Gold is a well plotted drama that sometimes devolves into schmaltz and melodrama. However, it gives us solid two-and-half hours of tricolour hued entertainment. We suggest XL sized popcorn tubs.

Reema Kagti and Rajesh Devraj's script is not a true account of a real-life incident, but is a fictional and gripping take on the actual story of free India's first gold. There's never a dull moment and Kagti's direction deserves credit for it. All in all, Akshay and his boys deliver the perfect Independence Day release and win not just gold, but also hearts! Go for 'Gold'!

Reema Kagti and Rajesh Devraj's story is surely something that deserves to be told. Of course, it has been dramatized and slightly fictionalized but it's done well. Reema Kagti's screenplay is topnotch and she keeps viewers captivated. On the whole, GOLD is a brilliant, touching saga that would surely entertain viewers and make them hoot for the retro men in blue. At the box office, it is sure to strike Gold! Highly recommended!

All said and done, Gold isn't Gold because of one person. As shown in the film, it's a team work & hence it's victorious. Akshay Kumar is unstoppable & Gold will do nothing but add yet another hit to his account. Watch it for the pure and informative entertainment.

In the first edition, the veteran star-actor led from the front: here the 'dirty soldier turned bloody espionage agent' is all thundery lines like 'main mazhab nahin mulk ke liye khoon bahaata hoon'. But even he can't rise above the shockingly inept script, which he rescues only in a few places, when his trademark intelligent, wry self-awareness manages to kick in. The rest can be safely ignored.

On the whole, VISHWAROOP II is a highly avoidable flick. The film has too many tracks and the narration and execution is flawed and weak. Also at the box office, the film will have a tough time.

The long-awaited follow-up to 2014's Vishwaroopam (Hindi title: Vishwaroop 2) is an empty shell. As tiresome as the first part was exhilarating, it is an incoherent muddle that is not even middling in terms of quality. Sexagenarian superstar Kamal Haasan, also the writer and director of this bloated mess, clearly used up all his ammo in the first go. Vishwaroop 2 is left working with low-yield leftovers.The world has moved on, terrorism has gotten much worse, and Mission Impossible has just delivered its best instalment ever. Vishwaroop 2, hopelessly stuck in the past, is a step backwards.

Overall, Vishwaroop 2 is at best an average affair. If you saw and loved the first part just go for it. But if you haven't seen the prequel, you'll be confused throughout. So, watch it only if you have seen the first part. Kamal Haasan is a legend and this film proves it once again. He holds the screen like no other actor. Watch it for his screen presence, watch it for it concludes what we saw in the first part.P.S - It would've made more sense if it would've released closer to its prequel's release.

KARWAAN is the story of three diametrically opposite individuals on a journey together. Avinash Rajpurohit (Dulquer Salmaan) works in an IT company in Bengaluru and is frustrated with his job. One day he gets a call that his father Prakash Rajpurohit (Akash Khurana) has died in a bus accident while he was on his way to Gangotri. The travel company arranges for his father's mortal remains to be sent to Avinash in Bengaluru. Avinash had a troubled relationship with his father as the latter compelled him to give up his dreams of becoming a photographer. As a result, he's not quite affected with his demise. Avinash asks his friend Shaukat (Irrfan Khan), who runs a garage, to provide him with a van so that he can carry the mortal remains from the airport to the crematorium. Avinash picks up the body and reaches the crematorium, where he realizes that he is given the mortal remains of a woman (Beena). The woman turns out to be a victim who also died in the same bus accident and her family resides in Kochi, who in a terrible mix up, were provided with Prakash's remains. Avinash hence decides to take advantage of the long weekend and take the woman's remains to Kochi and exchange it with his father's. Shaukat also joins in. On the way, the dead woman's daughter Tahira (Amala Akkineni) makes a SOS call to Avinash and requests if he can pick up her daughter Tanya (Mithila Palkar) who studies in Ooty and is incommunicado. Shaukat has reservations with this idea but Avinash doesn't listen. He reaches Ooty, picks up Tanya and then they head to Kochi. Unknown to them, a group of small-time goons are also following the trio. What happens next forms the rest of the film.

Bejoy Nambiar's story is promising and could have made for a great script. But Akarsh Khurana and Adhir Bhat's screenplay fails to take advantage of this wonderful opportunity. The film moves at a snail's pace and many developments don't happen organically. Also, the entire track of Avinash's father forcing him to give up photography is something that's been done to death in our films, most notable and recent example being TAMASHA (2015). Hussain Dalal's dialogues are funny and witty, yet worded simply. The ones mouthed by Irrfan Khan stand out.

Akarsh Khurana's direction is weak and he also lets go of the opportunity of turning a somewhat flawed script into a good film with his execution. One doesn't feel much for the characters due to the way the narrative pans out. Except for the part where Shaukat speaks about his father, no other scene moves viewers, not even the monologue of Tahira and Avinash. Also, the predictability sets in since one knows that the road trip films usually end with the characters getting transformed ultimately. Hence, despite the scene of Avinash in the end with his boss being a good one, it doesn't make the desired impact as the audiences already see it coming.

KARWAAN begins well and the frustration of being a part of a profession that doesn't suit Avinash is well depicted in the initial scenes. One expects things to get better once the road trip begins. And it does get better but not to a great extent. The film drags and a lot of humour and situations seem forced. The character of Tanya is half-baked and the writers should have etched this part in a better way. The intermission point is funny and again, the hopes rise for a better second half. Alas, that doesn't happen and the film remains flat in the last hour as well. Even the climax lacks punch. In fact, the Indian audiences might have strong reservations in the manner in which Tahira and Tanya organize a feast, play cricket and make merry as if nothing untoward has happened in their lives, just hours after the funeral. On the positive side, the film has some funny moments that succeed in raising laughs. The best part in this regard is that track of the shehnai wallah (Habib Azmi). It's sure to bring the house down!

Irrfan Khan delivers a decent performance and contributes to the laughter quotient, but only at places. Almost all his dialogues are worded to create an effect and the endeavor fails. Compare this with Irrfan's previous travel films - QARIB QARIB SINGLLE and PIKU - where the humour flowed organically. Unfortunately, that doesn't happen here. But he surely dominates the film and gives the most memorable performance out of all actors. Dulquer Salmaan makes a confident debut. He understands his part well and watch out how he carefully ensures he doesn't go overboard. This aspect would surely be loved. Mithila Palkar is strictly average. Her character lacked depth and even performance wise, she could have brought out various shades which would have enhanced the impact. Alas, her performance looks a bit monotonous. Amala Akkineni is genuine. Akash Khurana is good as the autocratic father. Kriti Kharbanda (Rumana) is quite lovely in the special appearance, but again, her track fails to add much to the film. Donna Munshi (Tasneem) has a striking face and does very well. Habib Azmi gives a fine performance. Beena is alright. The actors playing the cargo office staffer, Avinash's boss, Rumana's husband, new employee at Avinash's office and Nambiar are good.

Music goes well with the narrative but isn't something that would have a long shelf life. 'Chota Sa Fasana' is the best of the lot and is like a theme of the film. 'Heartquake' comes next and works due to its quirky lyrics and situation. 'Saansein' is also fair and the rest are forgettable. Anurag Saikia's background score is good but could have been a bit more subtle. Avinash Arun's cinematography is breathtaking and captures the locales so well that one feels that one is actually a part of the 'Karwaan'.

MULK is the story of a family facing extreme crisis when one of their own is accused of being a terrorist. Murad Ali Mohammed (Rishi Kapoor) is a respected lawyer in Varanasi and he lives there in an almost century old building with wife Badi Tabassum (Neena Gupta), brother Bilal (Manoj Pahwa), Bilal's wife Choti Tabassum (Prachee Shah Paandya), Bilal's daughter Aayat (Vartika Singh) and Bilal's son Shahid (Prateik Babbar). The Mohammeds are planning a grand party on the occasion of Murad Ali's 65th birthday. His daughter in law Aarti (Taapsee Pannu), married to his son Aftab (Indraneil Sengupta) comes from London and surprises them. On the same day as Murad Ali's birthday, Shahid leaves at night under the pretext of watching a cricket match at Kanpur. Unknown to the family, he has been brainwashed and he carries out a bomb blast in Allahabad, killing 16 people. Shahid is spotted in the CCTV footage and a hunt begins for him. He's finally found and is eliminated by officer Danish Javed (Rajat Kapoor). For the Mohammed family, the world comes crashing down. Bilal is accused of helping out Shahid with the terror attack and is arrested. What happens next forms the rest of the film.

Anubhav Sinha's story is excellent and the need of the hour. There are a lot of characters and each of them is well written. Anubhav Sinha's screenplay is highly effective as it keeps the audiences captivated from start to finish. He understands that he has a sensitive topic in hand and treats it very well. He takes up both sides of the issue and that's very praiseworthy. Anubhav Sinha's dialogues are hard hitting and acidic. The dialogues mouthed by Santosh (Ashutosh Rana) might squirm viewers but it was needed to make the impact.

MULK impresses viewers from the introduction itself. After acquainting them with the Mohammed family and the characteristics of each of them, it slowly indicates that Shahid is not what he seems to be. The sequence where Shahid is encountered is quite thrilling. But the scene in the first half that stands out is when Murad Ali refuses to accept Shahid's mortal remains. It's moving to see how he and his family gets branded as terrorists by those who knew him since years. In the second half, the film gets better as the courtroom drama goes on a high. At some places however the pace drops. But the film picks up when Aarti interrogates Murad Ali and asks him some tough questions. Note that this sequence might remind viewers about PINK which had a similar sequence of Amitabh Bachchan forcing Taapsee Pannu to speak up to prove a point. The closing arguments of Aarti are also terrific and surprisingly, even the monologue of the judge (Kumud Mishra) is remarkable and would induce claps from audiences!

Rishi Kapoor delivers a bravura performance, and stands amongst his finest in his long, glorious career. Viewers are bound to move by his plight and helplessness and the way he was obligated to prove his nationalism simply because of his religion. His monologue in the pre climax is very memorable. Taapsee Pannu is quite nice in the first half and in the beginning of the second half, she's a silent spectator to the goings on. But as soon as she takes up the case, she surprises viewers with her glorious performance. It's thanks to her that the climax goes on dizzying heights. Manoj Pahwa is the next best in line. He's always been a fine actor but sadly never got his due. With MULK, he's surely going to be talked about a lot! Prateik Babbar is terrific in a small role. Ashutosh Rana gets into the skin of the character and is quite good as the villainous, communal minded advocate. Rajat Kapoor looks every inch a no nonsense officer and performance wise, he's dependable. Kumud Mishra is subtle yet impressive. Neena Gupta and Prachee Shah Paandya are decent but get scope only in the first half. Vartika Singh, Ashrut Jain (Rashid) and Indraneil Sengupta are fine. Others do well.

Songs aren't required in this film. Only 'Thenge Se' stands out. Mangesh Dhadke's background score is dramatic and enhances tension. Ewan Mulligan's cinematography is fairly decent. Nikhil Kovale's art direction is quite earthy and real. Yasmin Rogers's make up and Preetisheel Singh's prosthetics are excellent, especially in case of Rishi Kapoor. Riyaz - Habib's action is straight out of life, in the lone action scene. Ballu Saluja's editing could have been crisper and better. Few scenes ended and began abruptly and this could have been avoided.

FANNEY KHAN is an official remake of the Belgian film IEDEREEN BEROEMD aka EVERYBODY'S FAMOUS. While the original film was shorter and had dark comedy, thereby maximizing impact, FANNEY KHAN on the other hand moves at its own pace and is too melodramatic. While this may work for some, others might find it unconvincing. Atul Manjrekar, Hussain Dalal and Abbas Dalal's screenplay is lackluster at places but scores at a few places. Hussain Dalal, Abbas Dalal, Jasmeet K Reen and Athar Nawaz's dialogues are simple but quite funny in some scenes.

Atul Manjrekar's direction could have been better and that in turn would have made the film better. There's no doubt that he handled some scenes exceptionally well. However, at many places, he loses the plot. The storyline is quite illogical in the first place and it needed an expert hand to ensure the film works logically. Unfortunately, Atul partly fails in his endeavour.

FANNEY KHAN has a decent commencement and sets the mood of the film. The introduction of characters however is not that impressive. The track of Adhir and Jinal (Swati Semwal) however is interesting. The film picks up thankfully once the kidnapping takes place. The manner in which Fanney Khan and Adhir make futile attempts to scare Baby Singh makes for a great watch. In the second half, the film drops again and hooks viewers only towards the end. The climax would be loved by a section of viewers as its quite moving. But some might find it too illogical.

The performances however are too good, thereby helping the film. Anil Kapoor is in a great form and is the soul of the movie. The emotional scenes work thanks to him. One can feel his pain and one can't help but hoot for him even when one knows that what he did isn't right. Rajkummar Rao genuinely puts his best foot forward and is endearing. He raises laughs in the kidnapping scene. Aishwarya Rai Bachchan looks like a million bucks and adds a lot to the film with her supporting role. Pihu Sand seems a bit irritating at places but she makes up for it with her touching performance in the climax. Divya Dutta (Kavita) is dependable as always. Girish Kulkarni as usual plays the negative part quite well. Satish Kaushik (Kadar bhai) has an interesting part but is wasted. Barbie Rajput (Rhea), Swati Semwal and Asif Basra are decent.

The songs are appropriate for the sequences in which they appear but could have better since the film is essentially a musical. 'Achche Din' is the best of the lot. 'Tere Jaisa Tu Hai' comes next and it comes at a crucial juncture. 'Mohabbat' serves as a fair introduction for Aishwarya. 'Fu Bai Fu' has interesting lyrics. 'Halka Halka' is the most unconvincing portion of the film as it shows a prominent singer, whose kidnapping has shaken the entire nation, roaming around freely! Tubby - Parik's background score goes well with the various moods of the film.

S Tirru's cinematography is quite effective. Ajay Vipin's production design however is nothing great although it works in the house scenes of Fanney Khan. Monisha R Baldawa's editing is passable. Eka Lakhani and Manish Malhotra's costumes are appealing, especially the ones worn by Aishwarya.

Saheb, Biwi Aur Gangster 3. The title has a resonance thanks to the impact that the film's two predecessors had made. Frittering it away on a flimsy Russian roulette-style effort isn't a good idea. So when the team decides to come up with another follow-up - the final moments of this film suggest that the fourth may not be far away - it will have to go all guns blazing. Or not at all.

I missed the poignancy of a lost era, with its lost people, clinging desperately to their fading power, that Dhulia managed to create in the first two films. You can see it in Shergill's ramrod straight figure, and his awareness of the times gone by. You can see it in Gill's playing of the woman scorned, who is both drawn to and repelled by her Saheb: there's lushness in both her figure and feelings, a shared history of rancid love and hate.

The royals of Saheb Biwi Aur Gangster 3 patronise obscure traditions and look more ancient than a '70s film. It offers nothing other than a niggling ache. It's certainly a question mark on Tigmanshu's otherwise satisfactory filmography.

102 NOT OUT is an unusual story of a father and a son. Dattatraya Vakharia (Amitabh Bachchan) is a healthy old man at the ripe age of 102. He's full of life and aims to live for 16 more years to break the record of the oldest man alive on Earth. His son Babulal (Rishi Kapoor) meanwhile is around 75 and has lost interest in life. Dattatraya is unable to tolerate the negativity oozed by Babulal with regards to old age, death etc. and decides to become the first father ever to admit his son in an old-age home. Babulal is naturally shocked and livid at this decision of his father and he protests. Dattatraya, as a result, decides to put few conditions in front of Babulal that he needs to fulfill if he wants to stay in their sprawling bungalow. As Dattatraya starts to fulfill these conditions, he becomes more and more excited and child-like. But few of the conditions also require Babulal to confront some of the past demons, which is going to be a challenge. What happens next forms the rest of the story.

The opening credits of the film are creative, showcasing some of the important landmarks of Mumbai, many of which are also a part of the film's narrative. The introduction of all the 3 important characters - Dattatraya, Babulal and Dhiru (Jimit Trivedi) is quite funny and makes for a nice watch. The film is just 102 minutes long and hence, no time is wasted. The film comes right on track after the quick introduction and it's hilarious to see Dattatraya trying to get his son admitted into an old age home. The sequence where he reads Babulal's love letter raises lots of laughs. From here, the film slips a bit as the direction is a bit disjointed. But the film picks up slightly with the church sequence as a new angle is introduced at this point. Post-interval, this angle gets a lot of prominence and that's where the film gets emotional. The sequence where Dattatraya narrates a terrible ordeal from their lives is heart-wrenching but also one of the best sequences of the film. The climax is clap worthy and also puts a smile on one's face. But in this process, the humour that one would expect after watching the funny promos of the film, might feel a bit let down as the second half is very serious, with very few laughs.

Saumya Joshi's story is novel, touching and gives a very important message. Saumya Joshi's screenplay is effective, for most of the parts, but is too quick and slightly incoherent in the first half. For instance, the manner in which the film's tone gets too emotional in the sequence when Babulal enters the park with the aeroplane is too quick and catches viewers unaware. Saumya Joshi's dialogues however keep the fun and interest going and at places, are also quite acidic. Umesh Shukla's direction is simple and neat. He struggles at a few places in the first half, but overall, he manages to leave a mark and ensure that viewers are moved and have laughed in equal measures. 102 NOT OUT is adapted from a Gujarati play by the same name, directed by Saumya Joshi, and Umesh manages to get it on celluloid very well. At a few places, it does give you a feeling of a play but no complaints as such since the content is strong!

Amitabh Bachchan is in a great form yet again and delivers an outstanding performance. It's amusing and endearing to see him playing a centenarian and still preferring to live life to the fullest. Even in the emotional scenes, he shines a lot. His Gujarati accent comes out well, but it's not too in-your-face. Rishi Kapoor also puts his best foot forward and gets completely into the skin of his character. It's nice to see him as an uptight senior citizen and his gradual transformation is also lovely. His best act is definitely in a crucial emotional sequence in the second half where he mouths no dialogues but communicates a lot simply through his expressions and eyes. Jimit Trivedi whose debut in BHOOL BULAIYAA (2007) was much talked about gives a yet another bravura performance. He also contributes a lot to the fun and emotional quotient of the film. Dharmendra Gohil (Amol) is decent in the lone sequence.

Salim-Sulaiman's music is hardly memorable. 'Bachche Ki Jaan' and 'Kulfi' both are played in the background and go well with the narrative. 'Badumbaa' is missing from the film. George Joseph's background score however is quite exhilarating. Laxman Utkar's cinematography is decent and the exterior shots of Mumbai are well captured. Bodhaditya Banerjee's editing is slick, at times too quick, but overall fair. It's commendable that a film with the title of 102 NOT OUT is actually 102 minutes long and kudos to the editor for managing it. Mansi Dhruv Mehta's production design is appealing - the mansion looks quite rich. Veera Kapur Ee's costume stylist is first-rate. The review would be incomplete without the mention of Preetisheel Singh's make up, hair and prosthetics. She gives a great look to both the veteran actors which also turns out to be the film's USP.

On the whole, 102 NOT OUT is a complete family entertainer with strong emotions as its trump card. It carries an important message for today's times. At the box office, it will have a strong word of mouth and families are bound to flock to watch it in theatres.