PK has characteristics that’ll remind you of the penetrating power of Gandhian philosophy. He is not a naive guy, but he believes in others’ virtues. He gets bitten, cries and then goes back to the work he has been doing, like most of us.
Prabhudheva's Action Jackson is about mindless action, weird characters and crazy dance numbers. But the Sonakshi Sinha-starrer is a must watch if you are an Ajay Devgn fan -- you certainly have never seen Devgn enjoy his role as much as he does in this one.
If you can get past the foolishness of the plot, director Kunal Deshmukh’s film is mildly engaging. Emraan Hashmi plays Raja, a charming, street-smart hustler. The big climactic twist is also interesting.
The film’s lead character is called STD, its dialogues are cheesier than a block of cheddar and the murder mystery is more mediocre than anything you have watched in a long time. This Rajeev Khandelwal-starrer is not meant for the fans of the genre, or anyone else.
Emraan Hashmi's Ungli is an apology of a 'coming-of-age celebration' of India's youngsters and it falls flat on its face. Nobody associated with the film ever had any idea where it was going. Terrible dialogues and bad acting skills make it completely forgettable.
Happy Ending can hold your attention throughout its length except some not-so-necessary intimate scenes. There is enough in the story to provide you a good dose of entertainment, you just don’t need to expect too much.
Its predictable and cliched closing notwithstanding, do take time out for Kill Dil for Govinda and Ranveer. Add some wacky, fun dialogues to the combo and you might just like this one.
In Basu Chatterjee's Shaukeen, Ashok Kumar, Utpal Dutt and AK Hangal managed to make their sexual fantasies comparatively innocent. Abhishek Sharma's The Shaukeens lacks on that very count. Add to that the failure of skilled actors.
In Rang Rasiya, the narrative begins with an attack on an art gallery, where Raja Ravi Varma’s paintings are getting auctioned. It’s such an apt opening for a film based on the life of a painter, whose sole motive in life was to defy illogical norms.
Indra Kumar, the director of Dil, Beta, Raja, Masti and Grand Masti, is back with his latest film Super Nani and it seems he is still stuck in the ‘70s. The film has an outdated storyline which is badly executed.