With a few chills and fewer thrills, the 'spirit' fizzles here, with little left to toast!

Somewhere out there was an ambitious plot that went mind-bogglingly haywire. What we are left with is a tacky production that becomes a tele-comical excuse for Neil Nitin Mukesh and Sonal Chauhan’s many, many vicious lovemaking sessions (one distasteful scene involves sucking of finger in a bathtub where Neil goes on to place a ring on the lady's finger with his tongue. Yes).

The actors share a warm chemistry nonetheless. Mrinalini Sharma doesn't get much to do. Asheesh Kapoor is wasted. On the whole, 3G doesn't work despite potential in its premise.

There's some nice chemistry between Sameer and his faithful buddy Gattu who together make varied attempts to replace the missing car before Daddyji finds out. Their banter alone makes for some of the film's funniest moments. If you don't understand Punjabi, it would be advisable to take along a friend who does. Not hard to like, don't expect much more.

This isn't a laugh-out-loud comic romp. But some of the gags the film rustles up are genuinely funny and bear the stamp of a degree of cleverness that one rarely encounters in an average Mumbai comedy.

Don't expect an out-and-out comedy, the film is a light-hearted family entertainer with a message for the youth. Do take your dad along for it, in his gaddi!

It’s ambitious but also indulgent and inconsistent in tone, making the film a jerky ride. Some stretches are clunky, but just when you’re starting to get restless a terrific scene grabs you – like Chaudhari Devi's creepily mesmerising monologue on why corruption is essential. Azmi is wonderful, as is Kapoor, who manages to be, in equal parts, childlike, endearing and nasty. But the big surprise is Imran Khan, who sheds his urban, chocolate boy baggage. It’s an exciting transformation. Despite this, Matru ki Bijlee ka Mandola feels like a puzzle in which all the pieces don’t fit. Its idiosyncrasies are both its strength and its undoing.

This outrageous comedy after shows little concern for our health as it delivers laugh after side-splitting laugh. Matru Ki Bijlee Ka Mandola might well be described as Bhardwaj's holiday movie - a mad story with crazy characters - but fortunately for us, even in a light mood, the director can be counted on to say interesting things. The year's first gem has arrived - don't miss it!

Matru Ki Bijlee Ka Mandola starts off on a promising note but falters towards the end. At times, the film is hilarious, and reminds you how much fun Bollywood cinema can be, and at other times, it is dull, disappointing, and quite annoying. Bhardwaj brings high energy to some parts of the film. As always his musical compositions and background score are delightful. But his storytelling skills are not well-honed here. So, unfortunately, MKBKM does not deliver all that it promises.

Gangs of Wasseypur is by turns absorbing and frustrating. Watching it feels like gorging on too much good food, leaving you feeling more exhausted than satiated. But there is enough in the sound and fury to enjoy.

Bolstered by its riveting performances and its thrilling plot dynamics, this is a gripping film that seizes your full attention. Despite its occasionally indulgent narrative, this bullet-ridden saga is worthy of a repeat viewing, if only to catch all its nuances. Don’t miss it.

GANGS OF WASSEYPUR symbolizes the fearless new Indian cinema that shatters the clichés and conventional formulas, something which Anurag Kashyap has come to be acknowledged for. It has all the trappings of an entertainer, but with a difference. The film prides itself with substance that connects with enthusiasts of new-age cinema. But, I wish to restate, one needs to have a really strong belly to soak up to a film like GANGS OF WASSEYPUR. Also, this striking movie-watching experience comes with a colossal length and duration. The reactions, therefore, would be in extremes. GANGS OF WASSEYPUR is for that segment of spectators who seek pleasure in watching forceful, hard-hitting and gritty movies.

It doesn't take 11 players to make a dream team. Debutant director, Rajesh Mapuskar, has a winning team with just three, plus a red hottie (Ferrari of course, we're not talking about boombaat Balan). Boman Irani, with his Parsi nuances, hunchback, slur, and a beautiful play of emotions ranging from despondency to exuberance, delivers a smashing performance. Paresh Rawal, in a small role, 'catches' you, right on. Sharman Joshi's performance is heart-warming, shuffling between light-hearted moments and tear-jerking emotions. Young Ritvik, like a true captain, holds the team together. This little stock of talent is so natural and expressive, he'll bowl you over. What tosses in its favour is the uniqueness of the concept (so what if you missed a ride with the real Sachin in his laal gaddi). Look at the brighter side of life, dikra.

The protagonist’s battle against the odds lacks the dramatic horse power that could have sent the film zipping down the fast lane. The characters are lovable enough, but their little joys and setbacks, and the emotional ebbs and tides, dangle somewhere between reality and make-believe. Ferrari Ki Sawaari is a bit like a warm bear hug that eventually leaves you cold.

Ferrari works as a film. It’s a story of reaching for your dreams, of endearing father-son relationships, and of moral lessons that aren’t preachy. It’s a formula that rarely fails — the sort of feel-good movie that makes for perfect Sunday viewing with the whole family.

Shanghai is consistently watchable and a good film from one of Hindi cinema’s most exciting filmmakers, just not great.

Shanghai warms up slowly, so you need to have patience -- especially in the first half. But the pleasure of the film is in the details. Shanghai doesn’t provide the comfort of answers or happy endings. But it forces us to ask urgent questions. It is the best Hindi film I’ve seen this year. I strongly urge you to make time for it.

Finally, Emraan Hashmi has let go. Also of hot scenes, hot babes and Himesh-isms. Dibakar can take a bow for that. With crude body language, a pot belly, stained teeth and mawali moves, he perfectly looks the part and pulls off an act he should be proud of. Abhay Deol thoroughly impresses with his cold, restrained and authoritative performance. Add to that a subtle Tamil accent. He doesn't lose grip of his character for even a fleeting moment. Whether Shanghai is off-beat or mainstream is debatable, but if you thrive on rustic realistic cinema, however heavy-duty - this is your pick.

Rowdy Rathore is entertaining in parts. You'll enjoy it if you do not have too many expectations. Watch out for the return of Akshay Kumar to some serious comedy and action!

Apart from Akshay, Sonakshi and Yashpal Sharma, the rest are unconvincing, as is the villainous set-up itself. Fans will love Akshay's mooch-twirling masala-act but be ready for hardcore action too - some pretty gruesome.

Riddled with an array of loud, lame and specious contrivances, Rowdy Rathore plays out pretty much like a comic-book fantasy rendered in the form of a live-action film. Go for it if you must, but don’t expect the earth from it.

ISHAQZAADE depicts the love story of two defiant, rebellious individuals. A passionate love story ignited by extreme dislike. It revolves around two disputing political families, two fiery individuals and their battle for control and superiority. In such a setting, when two people, who have been loathing each other all this while, fall in love, things go askew.The post-interval portions have several euphoric moments. On the whole, ISHAQZAADE, a volatile and intense story with ample doses of fanatical romance, should appeal to a pan-India audience. This broadly engaging love story has a winsome pair who deliver dexterous performances, besides popular music and several poignant moments, which should appeal to fans of mainstream films. Go for it!

There is much craft on display, and some lovely moments, but the immense promise shown by the first half turns out as hollow as a politician's. Soaked in sloppy sexism, the second half has the heroine repeatedly tortured -- cheated, slapped, bound, gagged, shot at and abused -- and yet the film decrees that she forgive. In the heartlands the film is set in, maafi is an all-absolving concept, an irretractable token of instant forgiveness, like a church confessional. Ishaqzaade, despite its artistry, deserves no pardon.

Sadly, Ishaqzaade isn't quite as pulsating as the plot line might suggest. The script throws up some surprises all right, but the story of inter-religious love does not have legs robust enough to gallop all the way through to the end with sustained energy.After a startling end to the first half, the film's pace drops several notches in the second half as the lovers seek refuge in Chand Bibi's brothel. If only Arjun Kapoor's dialogue delivery had greater punch and Parineeti Chopra could pull off the emotional moments without going shrill, Ishaqzaade would have been a markedly better film.

The strength of DANGEROUS ISHHQ lies is its attention-grabbing plot, which the Indian masses can relate to instantaneously. With Vikram Bhatt at the helm of affairs, who specializes in narrating taut thrillers, you can be assured of a riveting plot with several heart-in-the-mouth moments. But, alas, it's the screenplay that throws a spanner, with the over-stretched second hour and a formulaic conclusion ruining what Vikram had meticulously put together in the first half. On the whole, DANGEROUS ISHHQ is no patch on Vikram Bhatt's earlier achievements. This fantasy-driven film is an epic disappointment!

At the concept level, Dangerous Ishhq does have something going for it beyond the stereoscopic 3D that it has been filmed in. The screenplay is consistent in its convolutions and the further back it goes in time the less sense it seems to make. Part of the time travel, one must confess, is intriguing, if nothing else. But the plot is riddled with moments that stretch credulity to snapping point. So is the film's toying with the theme of the past living on in the present. The two don't quite mesh seamlessly enough on the screen to make an impact. You could watch the film for one or the other reason. Karisma makes a fair fist of it. The plot is a problem. It is all over the place.

JANNAT 2 is an engaging film with tremendous appeal for the masses. An absorbing story, a swift and coherent narrative, exemplary direction, fantastic action, soothing music and stellar performances summarize the highlights of this triumphant franchise.

A lot would have been forgiven -- as it often is with these producers -- if the film had either a meatier plot or a more gripping narrative, but this one's just tiresome as the obvious story drags on. A couple of chase sequences, particularly one through the arteries of a Dargah, are slickly shot, but even these lose their charm as they get needlessly long-winded. And finally, telling a bad actress she looks like Angelina Jolie is just cruel -- to both her and to the audience forced to sit there while she tries to smile coyly through a silly pout.

Jannat 2 follows the basic template of a small-time crook trying to reform himself when he falls in love. So the narrative primarily is a love story playing simultaneously alongside a crime-drama, both consequential of each other. But while the crime backdrop is reasonably riveting, the romance track is dull and deterrent to the drama. Only if the director could balance the two elements appropriately, Jannat 2 could have been a heavenly experience! Jannat 2 comes to life primarily for its two male leads who never overshadow the other and yet have compelling screen presence individually. Overlook a few of its sinful indulgences and Jannat 2 can turn out to be a hell of a ride!