I enjoyed Rustom. Despite what the title of this article suggests or whatever idea you get in the end of it, I am making it clear that I liked watching it and not at all regretted the two and half hour long experience (totally unrelated, but I do regret the Mohenjo Daro experience, which I braved before Rustom by the way). But Rustom is not a good film. It is overly long, has a flawed script and seems either over-smart or terribly stupid every now and then.

In a very over the top, Buddy-Cop way, Dishoom succeeds to an extent. It does manage to constantly engage the audience in the back and forth between its two lead characters J (Varun Dhawan) and K (John Abhraham). It also has audience pleasing masala ingredients that includes the likes of Bikini clad models, a dance number, an item number, an array of celebrity cameos, a cricket backdrop and to top it all off, some good old deshbhakti. The sad thing is, Rohit Dhawan & his writer friend go astray in the second half. The gags don’t hit the sweet spot and the already convoluted plot just goes on descending into something that is entirely erasable from the memory in T-minus 2 minutes.

Once, Satyajit Ray’s widely regarded masterpiece ‘Pather Panchali’ met the criticism of “Selling Poverty” to urban audience. Quite a handful of Indians criticised it citing it depicts the poor class of India to cater to sentimentalism of western audience. Even Francois Truffaut wasn’t a taker of neo­realism of peasants. However, when the rich was depicted on screen, full of arrogance and debauchery, there was hardly any uproar.

There is a crucial scene in ‘FAN’, when Gaurav (Shah Rukh Khan) gets caught in the train for travelling without ticket. After a lot of drama, he tries to explain the …

‘Fan’ is not a flawless film, but it still makes for a good watch. ‘Fan’ wouldn’t have been half of the film it is, without Shahrukh Khan’s performance, he keeps you glued till the very end. His portrayal of the fan-boy Gaurav is a quite phenomenal. Challenging enough to bring best out of him . Right form his body-language, his dialogue delivery, his mannerisms & also the way he portrays his agony.

In Natsamrat (The Emperor of Theater), which is a Shakespearean tragedy of the highest melodramatic order. Things have been placed in such honest manner that their similarities pave way for a little applause nonetheless. Bolstering with a soulful, devastating and deeply satisfying performance by Nana Patekar, the film leaves a mark in spite of its roaring run time.