Directed by Sujoy Ghosh

Rating: **1/2

“Computers are like a cycle for the mind,” is something the late Steve Jobs once said. His analogy works just as well for suspense thrillers. Some love them for the uneasiness of being unsure of what will happen next, others enjoy putting the pieces together before the climax. And if they can’t, they love it even more. ‘Kahaani’, with a few loose ends, manages to score with an ‘unpredictable end’ but the tension on the screen doesn’t translate into an anxious audience. Not throughout the film at least.

A pregnant woman seeks her absconding husband. She has flown down from London for the very first time to our colonial junkyard- Kolkata, precisely to do that. Now just this as a starting point could be used to terrorize the audience. A strange city full of people speaking an incomprehensible language can be portrayed cinematically through sweeping shots of crowds, flashbacks

Directed by Samir Karnik

Rating: Minus Chaar

The writers of ‘Chaar Din Ki Chandni’ and CAPTCHA writers serve the same purpose: waste your time and question your being (considering your taste in films!). Nonsensical has always been Bollywood’s version of slapstick. A wafer-thin plot, exaggerated characters who believe comedy means screaming out lines and repeating jokes which weren’t funny the first time around. But CDKC, miraculously, even manages to insult this disreputable genre. While a romantic comedy surrounding a wedding would be an impulsive 'paisa-daalo' for any financier, the unaccounted risks surface from the cracks in the characterization. And even for a person with superhuman tolerance, they will seem unnecessarily quirky and embarrassingly desperate in their attempt to entertain. If you’ve seen the promos of this film, you know the type. But you’re wrong. It’s not even worthy of being a no-brainer that you gape at on TV during aimless

London Paris New York

Debutant director Anu Menon's 'London Paris New York' is an effortless watch and the fast pace of the film doesn't give the viewer too much time to ponder over the flaws.

I have realized the least I expect from a film, the better it works for me and Shubhra Gupta seems to echo the same sentiment in her review:

A film that sounds like an itinerary of newlyweds on an international honeymoon manages to deliver a desi rom com with flavour and zing, coasting on a guy and a girl who look like they can't wait to get it on. That last is such a rarity in a Bollywood flick that it makes us willing and able to overlook the saggy bits.

Kunal is definitely not willing to overlook the flaws and he gives 'LPNY' a 0.3 rating:

Often directors believe the city their film is set in is a character in itself. By that logic, this one has three and if you watch this movie, they perform better than the lead cast. 'Accidently in love' is the most jaded theme in Hindi films and orchestrating that in foreign

Directed by Anu Menon

Rating: 0.3 * (0.1 for each city)

Often directors believe the city their film is set in is a character in itself. By that logic, this one has three and if you watch this movie, they perform better than the lead cast. ‘Accidently in love’ is the most jaded theme in Hindi films and orchestrating that in foreign locations is like a prototype. But this celluloid catastrophe trashes tried and tested formulas to prove that sometimes even marking all the ticks can produce a big cross at the box office.

The duo that laugh, cry, make love, sneer across the three megacities include Nikhil Chopra (Ali Zafar), an aspiring filmmaker and Lalitha Krishnan, a stereotypical social activist. Nikhil and Lalitha meet by chance (about time we have a premeditated love story!) at London airport, where the latter is stalled as her New York flight gets postponed. Nikhil decides to grin his way into playing tour guide to Lalitha.

Directed by Tigmanshu Dhulia

Rating: ***

A biopic on a non-public figure is like felicitating a Martian, no one on earth cares. Little known is often the same as little cared for but it could also mean little to compare with. So you have the world to improvise on the character and dress up his life to achieve cinematic victory. And that is just what this film has managed to a large extent with our super ‘daaku’ and national champ, Paan Singh Tomar. While legendary filmy dacoits like Gabbar Singh are remembered for their deliciously daring dialogue-baazi, Paan can be betokened with prefixes like selfless, considerate and even humane, making him as endearing as a ‘daaku’ can get.

Predictably, Paan Singh is a victim of society and unavoidable circumstances push him to pick up his rustic double barrel. And like many other Bollywood baddies, he meets his inglorious end. But the journey of his life makes for a delightful watch. It begins from when he was a lad in

Madhavan and Bipasha in 'Jodi Breakers''Jodi Breakers' could have been a fun film but the execution is bad. Ashwini Chaudhary gets the various elements in place but the bungled treatment makes the film a tedious watch.

Avijit Ghosh in his review points out:

At first glance, Jodi Breakers has a lot going for it: an unusual and interesting lead pair, fabulous outdoor location (Greece, in this case) and foot-stomping music. But the movie is let down by a script that lacks fizz and connect. Director Ashwini Chaudhary's venture begins as a comedy but gradually morphs into romance and loses momentum in the second half. Not even Helen can perk things up. Romance as remorse doesn't work here.

For a romantic comedy, most of the humour in the film is pretty inane. There is Omi Vaidya's Kamdev scene, which works to a certain extent but his accent is not as amusing as before. Like Piyali Dasgupta writes in her review, it's the supporting characters that provide some relief:

Some form of reprieve to see Milind Soman and Dipanita Sharma

A Jodi made in Greece

Cast: R Madhavan, Bipasha Basu, Omi Vaidya, Milind Soman, Dipanita Sharma, Mrinalini Sharma, Helen

Directed by Ashwini Chaudhary

Rating: **1/2

Hearts and buttocks may not serve the same purpose but when in love, both are subject to equitable amount of pain. This is one of the many pearls of wisdom you might pick up from this rom-com about breaking marriages and bandaging hearts. While similar films have managed well in exploring the intricate particulars of relationships, this one dares to not take itself as seriously and makes for a flaky yet pleasant watch.

The film ushers us into the curious life of Sid Khanna (R Madhavan), a marriage breaker by profession and a divorcee by marital status. Although he isn’t a divorce lawyer, he lies very well and helps people part with their insufferable partners without getting bankrupt due to alimony. His friends and supporting cast include sexual athlete and bartender Nano (Omi Vaidya) and a couple who devise their screen time between offering

Prateik and AmyLike someone rightly said some films should not be remade and Gautham Menon's 'Ekk Deewana Tha' definitely shouldn't have been.

Taran Adarsh points out the obvious loopholes in his review:

Both, the Tamil version [VINNAITHAANDI VARUVAAYAA] and also its Telugu adaptation [YE MAAYA CHESAVE] were considered path-breaking motion pictures. Though essentially a remake, EKK DEEWANA THA conjures memories of K. Balachander's roaring hit EK DUUJE KE LIYE. Menon is a master storyteller, no two opinions on that, but EKK DEEWANA THA fails to leave an impact for a valid reason: A beaten to death plot tends to stagnate after a point. Also, Menon overstays the hospitality by dragging the film in its second hour. Just when you think the story would conclude, Menon does a time travel and starts a new chapter in this never-ending love story. That, honestly, only makes this snail-paced movie a taxing and cumbersome experience.

Bollywood loves a good romance but not one where the plot is dragged endlessly