SATELLITE SHANKAR is about the extraordinary journey of a soldier that brings a nation together. Shankar (Sooraj Pancholi) is a rifleman posted near the LOC in Jammu and Kashmir. He is very popular in his regiment because of his jovial nature. He carries with him an idol of Lord Shankar. He pretends that it’s a satellite that can help him connect to anyone in the world. With this little trick, he keeps the officers motivated, despite them not getting leaves. In a firing by the Pakistani forces, Shankar gets hurt. He’s admitted in the hospital and though the injury is not serious, he is asked to rest for eight days. Shankar requests his commanding officer, Cheema (Sanjay Gurbaxani) that he’ll like to go to his hometown, Pollachi, in Tamil Nadu to meet his mother and get her cataract treated. Cheema agrees on the condition that Shankar reaches the base 8 days later at 8 am. Shankar promises to be back on the stipulated day and time by giving a ‘Sainik shapath’. Shankar’s colleagues request him to hand over gifts and other items to his family members while he’s on his way to his hometown. Shankar then begins his three-day-long journey on the train from Jammu. As soon as he commences the trip, an old couple in his bogie are asked to leave as they have boarded the wrong station. While helping them find the right train at the next station, Kathua, Shankar ends up missing his own train. He along with Meera Bakshi (Palomi Ghosh), a vlogger, then take a taxi to Pathankot, where their respective trains was to halt. Again, Shankar is not able to make it on time in his train while helping Meera. However, the family member of an army colleague Subedar Jeetu Singh (Pradeep Singh) picks up Shankar’s luggage from his train when it halts at a station in Punjab. Shankar reaches Jeetu Singh’s residence in Bagha and uses his ‘satellite’ to spread happiness and solve their problem. Shankar then heads to Agra to finally catch his train to Pollachi. Yet again, Shankar gives it a miss as he gets busy in saving people who were in a bus that had met with an accident. Interestingly, even Meera is there in the bus and Shankar gets captured in her video. He overnight becomes a hero of the nation. Meera takes it upon herself to find Shankar and she sets off to find him. Her followers cross the million mark and they too get involved in this journey to ensure that Shankar not only reaches his hometown soon but also that he’s able to adhere to his ‘Sainik Shapath’ and report back to base 8 days later at 8 am. What happens next forms the rest of the film. Vishal Vijay Kumar and Irfan Kamal's story is utopian but has potential and can be best described as ‘Munna Bhai meets Bajrangi Bhaijaan’! Vishal Vijay Kumar and Irfan Kamal's screenplay however don’t do justice to the plot in hand. A few scenes stand out individually but as part of the film, they seem a bit convenient and unconvincing. Vishal Vijay Kumar and Irfan Kamal's dialogues however are appropriate. But a few dialogues are in Punjabi, Tamil and Bengali and are difficult to comprehend. There should have been subtitles for these lines. Irfan Kamal's direction is weak and a bit unpolished. He had a great subject in hand but first he messed it up at the screenplay stage. Then, with his execution, he spoilt it even more. The first 15-20 minutes seem very silly and one might wonder what exactly is happening in the film. The concept of the ‘satellite’ gets clear only after 30-35 minutes in the Punjab village scene. The film boasts of very filmy and convenient plot points and it needed an expert direction so that viewers can digest it. In the absence of it, it’ll be difficult for them to really get engaged with the film. 
SATELLITE SHANKAR’s beginning portions might seem bizarre. The concept of the ‘satellite’ might not be easy to comprehend. Even the scene of Shankar getting injured in the cross-border firing is not well helmed, although the idea is interesting. The film gets a bit interesting as Shankar gets in the train and he ends up missing it. However, he misses his train three times and that becomes too much. What stands out in the first half is the scene in the Punjab village and the bus accident sequence. Post-interval, the film has some fine moments but again, the direction and script play spoilsport. Still, the film remains somewhat engaging. However, the climax is when the film really falls down. The stone pelting part looks completely forced and mars the rhythm and even tone of the film. Sooraj Pancholi gives a very fine performance and he’s sure to amaze you with his sheer hard work. There’s this earnestness in the way he has played the part and it’s completely in sync with his character. Also, he is quite entertaining and watch out for the scene where he imitates Prime Minister Narendra Modi! Megha Akash (Pramila) is lovely and lends able support. Her scene at Salem railway station is memorable. But sadly, her track is not well handled and it lacks conviction. Palomi Ghosh has a brilliant screen presence and leaves a tremendous mark. Upendra Limaye (Inspector Chavan) is dependable. Pradeep Singh, Anurag Mishra (Anwar Hussain), Anil K Reji (Sridhar), Asif Basra (Taxi Driver), Subrat Dutta (TC) and Sanjay Gurbaxani are fine. Music is nothing special. 'Pyaar Ka Satellite' is like a theme track and is the only song that works. 'Aari Aari' is foot tapping but comes at a time when viewers are dazed about the film’s concept. 'Tere Sang' is forgettable while 'Jai He' has a patriotic feel and hence stands out. Sandeep Shirodkar's background score is appropriate. Jitan Harmeet Singh's cinematography is excellent. The film has been shot in real locations to bring the authenticity and the various locales are well captured. Abbas Ali Moghul's action is dated. Tariq Umar Khan's production design is as per the requirement of the film. Same goes for Dipika Lal and Anirudh Singh's costumes. White Apple's VFX is decent. Chandan Arora's editing is sany complaints. On the whole, SATELLITE SHANKAR is a well-intentioned flick but poor script and direction play spoilsport. At the box office, it’ll have a tough time because of lack of awareness.from BollywoodHungama.com Movie Reviews https://ift.tt/36GocPH
BALA is the story of accepting oneself despite imperfections. The year is 2005. Balmukund Shukla aka Bala (Sachin Chaudhary) is a child in Kanpur who is proud of his looks and hair. He is very popular in his school and has lot of female admirers. He is so obsessed with his looks that he even ridicules his classmate and neighbour Latika (Saniya Touqeer) over her dark complexion. The story then moves 11 years ahead. The year is 2016 and Bala (Ayushmann Khurrana) has suffered extreme premature balding. He works in the marketing team of a fairness product. Latika (Bhumi Pednekar) is a firebrand lawyer and both still can’t look eye to eye. Bala tries lot of techniques to grow his hair but nothing works. Hair transplant is an option but he can’t opt for it as he’s diabetic. With no other option in hand, Bala accepts his father Hari's (Saurabh Shukla) suggestion and opts for a wig. He is then sent to Lucknow where his company is shooting for an ad with Pari Mishra (Yami Gautam). She is a popular TikTok star and Bala has a major crush on her. He meets her during the course of the shoot and woos her. In no time both fall in love and begin a romantic relationship. Realising that things are getting serious between them, Bala feels he should tell Pari that he is bald and that he wears a wig. However he is not able to especially when he realises that for Pari, external beauty matters the most. He fears that if he confesses to Pari, she’ll dump him. Their respective families meet and the marriage is fixed. What happens next forms the rest of the film. Niren Bhatt's story (original story by Pavel) is excellent and novel. There is a very nice message given by the makers. Niren Bhatt's screenplay (with additional screenplay by Ravi Muppa) ensures that this message comes out in an entertaining way without getting preachy. Niren Bhatt's dialogues are one of the highpoints. Some of the one-liners are very clever and take the film to dizzying heights. Amar Kaushik's direction is excellent and he proves that he knows his craft and that his debut directorial venture STREE [2018] was no fluke. The treatment of the film is very simple and adds a lot to the script. What’s praiseworthy is that he keeps the flow of the film very smooth and organic. There are scenes where the situation suddenly turns from comic to serious or vice versa. Yet, it’s done so well that it doesn’t seem unconvincing or out of place. Also, the finale is helmed nicely and not only families, but even youngsters and every cinegoer would love it. BALA begins on a very entertaining note, showcasing Bala's childhood. The interest is maintained as Bala grows up and viewers get acquainted with his family and professional life. The humour quotient is not much initially but it significantly increases in the scene where Bala tries 200+ remedies to get back his hair. Some of these solutions are literally 'hair-rising', thus raising laughs. Things get better when Bala meets Pari in Lucknow. Their romance blooms over a series of TikTok videos and it’s sure to be loved by viewers. While the first half has more of comedy, in the second half, the story takes a dramatic and serious turn. The interest level drops here but goes on a high once again in the climax. The finale is unconventional but works. Another sequence of the second half that deserves mention is when Ayushmann and his friend run away with newspaper copies. It’s sure to create a riot in theatres! 
BALA belongs to Ayushmann Khurrana. He plays the part very naturally, as if he has been bald all his life. The character of Bala is very filmy who loves the 90s songs and the actor brings out this aspect in an entertaining manner. Also, he is too good in the dramatic and confrontational sequences. Bhumi Pednekar does seem a bit awkward initially but she essays her part with perfection and is a natural. She doesn’t have much to do in the first half but excels in the second hour. In fact, this can be counted as one of her most accomplished works. Yami Gautam also gets into the skin of her character and gives a credible performance. Notice how she has worked hard on her accent. In one of the most important scenes of the second half, she does so well that viewers are bound to clap loudly for her! Child actors Sachin Chaudhary and Saniya Touqeer are nice. Saurabh Shukla is dependable as always and he rocks in the scene where Bala apologizes to him. Dheerendra Gautam (Vihan) leaves a mark but his part reminds one of Shardul Rana, who played Ayushmann’s younger brother in BADHAAI HO [2018]. His outburst in the first half is very funny. Abhishek Banerjee (Ajju) is decent in the supporting part. Jaaved Jaaferi (Bachchan Pandey) is fine but gets limited scope. Seema Pahwa (Latika’s mausi) is adorable. Other actors who do well are Sunita Rajwar (Bala’s mother Manju), Umesh Shukla (Bala’s maternal grandfather), Sumit Arora (Bala’s boss), Yash Chaturvedi (Bala’s colleague Varun), Shashi Verma (hair transplant doctor) and Mushtaq Khan (lawyer Raina). Ayushmann’s brother Aparshakti Khurana is also there in a fun scene. Lastly, Vijay Raaz is the sutradhar of the film and surprisingly, he plays the part of ‘hair’! And it adds a nice touch to the film. Sachin-Jigar's music is okay. 'Don't Be Shy Again' is played in end credits while 'Pyaar Toh Tha' comes at a crucial juncture. 'Naah Goriye' (music by Jaani, B Praak) is missing in the movie. Sachin-Jigar's background score however is much better than their songs. There’s a recurrent theme which is used very well. Also, in one important scene, the music turns into a serious one and that adds to the laughs. Anuj Rakesh Dhawan's cinematography is neat and captures the small town goings on well. Preetisheel Singh's makeup and prosthetics is flawless. Sheetal Sharma's costumes are straight out of life. Mayur Sharma's production design adds to the authenticity. Hemanti Sarkar's editing is slick and yet unhurried. The film is just 130 minutes long and drags only in few places, that too only in second half. On the whole, BALA not only entertains thoroughly but also delivers a very important message that will surely be lapped up by the audiences. At the box office, the film will surely benefit thanks to great word of mouth and brand Ayushmann. It will emerge as a profitable venture for the producers and will make its entry into the 100 crore club.
DRIVE is the story of a group of thieves planning the biggest heist of the country. Tara (Jacqueline Fernandez) runs a courier company in Delhi and specializes in illegal transfers for criminals. She is aided in this by Bikki (Vikramjeet Virk) and Naina (Sapna Pabbi). The trio, besides indulging in street racing, are also focused on finding a thief named King (Sushant Singh Rajput). He operates alone and robs in style. After stealing, he leaves the name of the place where he would next make the heist. After robbing a jewellery store, he hints that his next target is Rashtrapati Bhavan! Irfan (Boman Irani) from the PMO gets startled on getting this information. He teams up with Vibha Singh (Vibha Chibber), director of the monetary restrictions department and his junior, Hamid (Pankaj Tripathi) in ensuring that King doesn’t come to rob what is the most secured and one of the most important institutions in the country. King however bumps into Tara, Bikki and Sapna and after he finds them trustworthy, King tells them about his real identity. At the same time, Tara also expresses her wish of robbing Rashtrapati Bhavan for a special reason. She has found out that Vibha takes a 40% cut from those on whom she initiates a raid. After getting her share, she gives the accused a clean chit. Vibha has discovered a secret chamber in Rashtrapati Bhavan where she has stashed all the unaccounted wealth. Tara wants King’s help in robbing this hidden treasure. However, the security at Rashtrapati Bhavan is unparalleled. The aim is to enter the palace, dodge the security and CCTV cameras, locate the loot and take it out of the Bhavan. What happens next forms the rest of the film. Tarun Mansukhani's story is poor and is a bhel puri of various films like RACE, DHOOM, FAST & FURIOUS, OCEAN’S ELEVEN, SAAHO and even Karan Johar’s earlier forgettable film, UNGLI. Tarun Mansukhani's screenplay doesn’t make the desired impact as it’s very difficult to comprehend. There are twists and turns every 10-15 minutes but instead of adding to the film’s charm, it ends up getting on viewers’ nerves. Tarun Mansukhani's dialogues are simple and straight forward. Tarun Mansukhani's direction is nothing great. He tries to do an Abbas-Mustan but fails miserably. The film lacks emotional touch. You don’t really root for any character as you don’t feel for them. A bit of Tara’s past is hinted at but that’s about it. A few developments are bewildering. The track of Arjun (Anuj Jain) is difficult to understand, especially how he managed to get into Tara’s gang. Surprisingly, Tara and his team don’t kick him out despite knowing that he’s an undercover officer! The flow of narrative is also fractured by two songs. Shockingly, the 'Makhna' song comes up all of a sudden. For no rhyme or reason, Tara and the gang head to Israel. No explanations given! The makers, at the most, could have added a voiceover of Tara telling her gang that they should take a break for a few days but alas! 
UJDA CHAMAN is the story of a man in search of a life partner. Chaman Kohli (Sunny Singh) is a 30-year-old lecturer in Delhi’s Hansraj College. He has faced acute hair loss in the last five years, affecting his self-esteem and also his marriage prospects. His parents, Shashi Kohli (Atul Kumar) and Sushma Kohli (Grusha Kapoor) put his five-year-old picture in his marriage bio-data and when he goes to see a prospective bride, he wears a cap. Sadly, the cap comes off and the prospective bride and her family kick the Kohli’s from their house. Their family astrologer (Saurabh Shukla) adds to their tension as he claims that if Chaman doesn’t get married before his 31st birthday, he’ll remain celibate for life. Chaman tries to find love, first at the marriage ceremony of a friend but it proves futile. Later, he tries to woo a fellow lecturer, Ekta (Aishwarya Sakhuja) but she rejects him as she is already dating someone. All of a sudden, a first-year student, Aaina Ali Khan (Karishma Sharma) shows interest in Chaman. Chaman falls for her but in no time, he realizes that she hung out with him for vested interests. With no other option, Chaman accepts his father’s suggestion and downloads Tinder. He uploads his picture, but by cropping his bald patch. In no time, he matches with Apsara (Maanvi Gagroo), who is overweight and just like Chaman, she too puts a close up picture to hide her so-called imperfection. Both decide to meet and obviously get shocked looking at each other. What happens next forms the rest of the film. UJDA CHAMAN is an official remake of the 2017 Kannada film, ONDU MOTTEYA KATHE (Writer: Raj B Shetty). Danish J Singh's adapted story has immense potential as a lot of people can relate to the goings on shown in the film. But Danish J Singh's screenplay plays spoilsport. The narrative is engaging but only in parts. Danish J Singh's dialogues are funny and matter-of-fact. Abhishek Pathak's direction is not worthy enough. The execution seems a bit amateurish and over-the-top. The manner in which Chaman is ridiculed almost on a daily basis by the students because of his receding hairline is too much. Moreover, the direction style is not consistent. The second half looks very different from the first half. Also, with nothing unique happening in the film, the narrative becomes extremely predictable. On the positive side, a few scenes work like the track of Aaina and the hospital scene. UJDA CHAMAN begins on a fun but very loud note with the initial portions being mildly engaging. The humour looks forced in the scene where Chaman attempts to assault his brother Goldy (Gagan Arora). The track of Aaina is thankfully better but still, the film doesn’t reach a high. The intermission point is interesting and the film seems promising from here on. And the initial portions of the second half are very entertaining as Chaman and Apsara get close. But after a point, nothing novel or interesting happens. The film gets dragging and predictable. The final scene is cute but comes too late in the film. 
HOUSEFULL is the story of three couples and how destiny helps them reunite after 600 years. The story begins in 2019. Harry (Akshay Kumar) is a barber in London who has a habit of momentarily losing his memory when he hears a loud noise. During one such time, he ends up destroying a large amount of money belonging to Michael (Sharad Kelkar) that was given to him for safekeeping by Big Bhai. Big Bhai hence gets angry at Harry, his brother Max (Bobby Deol) and their friend Roy (Riteish Deshmukh). He demands them to return the money of Bhai. Harry, Max and Roy then tell Bhai that they are in a relationship with Pooja (Pooja Hegde), Kriti (Kriti Sanon) and Neha (Kriti Kharbanda) respectively. All three are daughters of a very wealthy man, Papa Ranjeet (Ranjeet). Hence they’ll pay Big Bhai the money once they get married to them. The trio then meet Papa Ranjeet and the marriage is fixed. The venue chosen is a place called Sitamgarh, a town in India. The trio along with their girlfriends and Papa Ranjeet arrive at Sitamgarh palace, which has now been converted into a hotel. The moment they reach there, the bell boy, Aakhri Pasta (Chunky Panday) claims that all of them were a part of the kingdom of Sitamgarh. He goes overboard while making the claim, which makes the guests uncomfortable. Hence the manager Winston Churchgate (Johny Lever) fires Aakhri Pasta. However, Harry has often got flashes of his past life. He goes to Madhavgarh, where Aakhri Pasta resides, to find out more information. As soon as he reaches Madhavgarh, Harry is able to remember his past life. The story then goes on a flashback mode in the year 1419. Bala (Akshay Kumar) is a notorious Prince of Madhavgarh who is banished from the kingdom by his father (Parikshit Sahni). With the help of Pasta (Chunky Panday), he finds out that the king of Sitamgarh, Maharaja Surya Singh Rana (Ranjeet) will be celebrating his birthday and that he had three daughters, Madhu (Kriti Sanon), Meena (Kriti Kharbanda) and Mala (Pooja Hegde). Bala arrives in Sitamgarh and succeeds in wooing Madhu. Meanwhile, Bangdu Maharaj, a dancer in the royal palace, gets into a relationship with Mala while the warrior Dharam (Bobby Deol) starts an affair with Meena. The king even approves the union and their marriages are fixed. All is going well but Suryabhan (Sharad Kelkar) who wants to be king comes up with a plan. He kills brother of Gama (Rana Daggubati), a ferocious chieftain of a neighbouring kingdom. Gama is made to believe that it’s the king who ordered the killing. As a result, Gama arrives in Sitamgarh during the marriage ceremony for revenge. In the ensuing battle, they all die. What happens next forms the rest of the film. Sara Bodinar and Sajid Nadiadwala's story is very weak. Aakash Kaushik and Madhur Sharma's screenplay (with additional screenplay by Farhad Samji, Tushar Hiranandani, Sparsh Khetarpal and Tasha Bhambra) spoils the show further. It seems like the makers took audiences for granted and in the attempt to show grandeur, they missed out on the factors that made HOUSEFULL such a successful franchise. Farhad Samji's dialogues add to the fun but only at places. Farhad Samji's direction is unimpressive. Though for most parts, he is able to handle the grandeur and confusion well. The opening credits are very similar to the opening of BAAHUBALI 2: THE CONCLUSION. In fact there’s an in-your-face reference to the film later. However, several sequences are weak and the jokes fall flat. The writing is also to blame but the director should have hidden these shortcomings with his execution. Sadly that doesn’t happen. HOUSEFULL 4 begins on a very fun note. The madness that happens at Harry’s salon sets the mood. The film gets better as they all reach Sitamgarh. Once the flashback begins, one expects the film to go on a high. But the opposite happens as the humour is missing from the film. Yes there are fun moments but they aren’t funny enough to give audiences a paisa vasool time. Much of the second half is about how Harry tries to persuade Max and Roy that they are doing a mistake by getting married to their bhabhis. The humour here is strictly okay and in the Nawazuddin Siddiqui’s track, it goes out of the window. Thankfully the entry of Pappu Rangeela (Rana Daggubati) acts as a respite. The climax works only in parts. The continuity issues spoil the fun. 
MADE IN CHINA is the story of a man who beats all odds to become an expert businessman. Raghu Mehta (Rajkummar Rao) is based in Ahmedabad and is a failed businessman. He has tried his hands in various kinds of businesses but the effort has been futile each time. He then accepted his deceased father’s advice and began to run his family-owned clothes shop. Even here, he tries to experiment and stocks Nepali mattresses but nobody is interested to buy it. Raghu is married to Rukmini (Mouni Roy) who is understanding and supports him through thick and thin. But Raghu’s father-in-law Vitthal (Manoj Joshi) and Devraj (Sumeet Vyas) don’t appreciate Raghu’s attempts. They advise him to sell his shop at a good price and also to go to China and help Devraj set up his venture of providing a herbal soft drink. Raghu reluctantly takes up the China offer where sadly, the deal with Tanmay Shah (Paresh Rawal) fails to materialize. However, Raghu befriends a local colleague there, Xui Lee (Danni Wang). She introduces him to Hou Lee (Jeffrey Ho) who claims to have made an effective aphrodisiac called Magic Soup that too from the reproductive organs of tiger. Hou Lee insists Raghu to sell it in India and make millions for both. Raghu returns to India, impressed with the idea, and he decides to do ground research. He meets several sex doctors, tantric babas etc and realizes that most of them are only interested to financially exploit the desperate people struggling with sexual problems. Raghu then comes across Dr Tribhuvan Vardhi (Boman Irani) who is honest and not money-minded. Immediately, Raghu insists that Dr Vardhi should sell Magic Soup to his patients and in return, he’ll get 50% share in profit. Dr Vardhi refuses at first but after much cajoling, he accepts the offer. On the advise of Tanmay Shah, Raghu turns Dr Vardhi into an online sensation which in turn helps in the sales of Magic Soup. All is going well until one day, a high-profile Chinese national, General Zeng (Dawei Yu), consumes Magic Soup and passes away in a few minutes. Consequently, Raghu and Dr Vardhi are caught by the police. Considering the gravity of the situation, the government dispatches two CBI agents, Gupta (Chitranjan Tripathi) and Sharma (Abhishek Banerjee) to investigate. What happens next forms the rest of the film. Mikhil Musale, Karan Vyas and Parinda Joshi's story is juvenile and unconvincing. There are far too many characters and justice is not done to many of them. Mikhil Musale, Karan Vyas and Parinda Joshi's screenplay (with additional screenplay by Niren Bhatt) is a bigger culprit. The poor storyline could have been still made for a slighter better film. But that doesn’t happen as the film lacks drama, tension and even sufficient humour. Niren Bhatt and Karan Vyas's dialogues could have been much better worded and unique. For instance, the way Dr Vardhi’s speech goes viral seems difficult to digest as he didn’t say anything that’s not been said before. Mikhil Musale's direction is weak. He knows the shot taking techniques but storytelling wise, his approach is flawed. There are too many jumps in the timeline. The entire China trip episode is bewildering as viewers never get to know where Devraj disappeared and when and how did Raghu return to India. The film, moreover, begins as a murder mystery, but this bit is kept unexplained till the very end. On the positive side, a few scenes are entertaining like Raghu roaming around with Xui Lee, the scenes of Tanmay Shah and the scene in the library involving Raghu and Dr Vardhi. 
SAAND KI AANKH is the story of two women who find their calling in their 60s. The year is 1999. Chandro Tomar (Bhumi Pednekar) and Prakashi Tomar (Taapsee Pannu) are sister-in-laws living under one roof with their respective spouses, strict and orthodox brother-in-law Rattan Singh (Prakash Jha) and their children in Johri village in Uttar Pradesh. Both have crossed 60 years of age and though they had the desire to do something worthwhile in their lives, they were not allowed to because of the pressures of the patriarchal society. One day, Dr Yashpal (Viineet Kumar) returns back to Johri. He leaves his medical profession and starts his shooting range. Chandro’s daughter Shefali (Sara Arjun) expresses interest to practise shooting but Rattan obviously refuses to give permission. Yet, Chandro takes Shefali to the range. Without giving much thought, Chandro also tries her hand and surprisingly, she hits a bullseye! Yashpal tells her to try few more times and he realizes that Chandro is a pro. Later, even Prakashi joins and even she turns out to be an expert shooter! Yashpal encourages them to hone their skills at his shooting range and later, tells them to take part in a shooting competition held in Chandigarh. The daadis have never stepped outside their village in their lives. Hence, they get apprehensive at first but nevertheless, they agree. They fool their husbands and Rattan smartly and head to the competition where Prakashi emerges first and Chandro second. In no time, they win many tournaments with ease, while also cooking up various stories to tell their spouses. However soon there comes a time when the Tomar sisters are compelled to tell the truth to Rattan. What happens next forms the rest of the film. Balwinder Januja's story is very promising and inspiring. It not just enlightens viewers about the lives of Chandro and Prakashi Tomar but also gives an important comment subtly about the ills of patriarchal society and lack of awareness of population control. Balwinder Januja's screenplay is captivating for most parts but could have been better in the beginning of the flashback portion and in the pre-climax. Jagdeep Sinhu's dialogues are acidic and sharp. Tushar Hiranandani's direction is quite good for a first-timer and he’s in control of the writing material in hand. He also tries his best to make it as entertaining and mainstream as possible. Also he scores on the emotional front as the struggles of daadis and the way they get slammed by the male members of the family can leave viewers moist-eyed. On the flipside, he should have kept the duration in check. The last 15-20 minutes could have been better emotionally as the scene preceding the finale is too good. SAAND KI AANKH begins on an interesting note and Chandro and Prakashi’s entry puts a smile on one’s face. The flashback portion works in parts. In fact, the entire first half though engaging doesn’t really go on a high. There’s not enough drama or tension in this hour as the daadis are able to easily practise and even go to Chandigarh without the men getting suspicious. The best part of the first half is the Chandigarh competition and how both the women silence their detractors. Post-interval too, the tension doesn’t arise till a certain point. Yet, the second half is better as there are some very sweet moments. One of the most touching scenes here is when Chandro and Prakashi mistake the finger bowl for hot lime water and gulp it down the throats. The Maharani (Nikhat Khan) doesn’t want the daadis to be humiliated for their gesture and hence, even she does the same! Even the jugaadu disco light installed by the daadis in their house in ‘Baby Gold’ song is sweet. The confrontation sequence between the daadis and Rattan Singh is exhilarating. One expects the film to end here but it goes on for another 20 minutes as the film also focuses on the track of Shefali and Seema trying to be shooters. This track also has its moments but after the high-voltage confrontation scene, the film falls flatly in this said scene. The film ends on an emotional note. 
LAAL KAPTAAN is the story of revenge spanning a couple of decades. The year is 1789, 25 years after Battle of Buxar. Hunter (Saif Ali Khan) is a Naga Sadhu who’s looking for a man called Rehmat Khan (Manav Vij). Through Noor Bibi (Sonakshi Sinha), Hunter finds out that Rehmat is a governor of a kingdom somewhere in North India. At this time, the evil Rehmat takes away all the treasure of his kingdom and kills his servants. Along with his army, his confidant Aadham Khan (Aamir Bashir), his wife (Simone Singh), wet nurse (Eshika De) and his newborn son, he abandons the fort and is on a way to the banks of the river Yamuna. By the time Hunter reaches the fort, there’s no one except a widow (Zoya Hussain). Hunter gets injured while fighting some Pathans on the way and the widow takes care of him and treats his wounds. In return, she requests him to take her with him. Hunter refuses and yet, she follows him. After Hunter and the widow leave, a tracker (Deepak Dobriyal) who’s an expert in finding out whereabouts with the help of his smelling power and pet dogs, reaches the fort. In some time, the Marathas attack the fort and the tracker agrees to help them find Rehmat. Rehmat was to give a portion of the treasure to the Marathas but since he didn’t, they are trying to find him. Meanwhile, a few days later, the Hunter reaches the place where Rehmat and his army have camped for the night. Hunter quietly enters Rehmat’s tent but he doesn’t kill him, which has always been his sole aim since 25 years. Rehmat’s army nabs Hunter but Rehmat doesn’t want him eliminated. He wants to know who exactly is Hunter and why he wants to kill him. Rehmat is also reminded that six years ago, he had crossed paths with Hunter and the latter had told him that he’ll finish him. Even then, Hunter had spared him. What happens next forms the rest of the film. Deepak Venkatesha and Navdeep Singh's story is very poor and gives a déjà vu of certain period films of Bollywood and also Hollywood. Deepak Venkatesha and Navdeep Singh's screenplay is confusing and ineffective. The film has too many tracks and except Hunter’s track, none of them are interesting. Also, the transition between tracks is not smooth. There’s a twist in the tale revealed in the pre climax but it arrives at a time when viewers are tired with the goings on and just want the film to end. Sudip Sharma's dialogues are nothing special and quite pretentious. The philosophical one-liners fail to entice. Also, various dialects and even Marathi is used and it’ll be difficult to decipher some of the lines in the absence of subtitles. Navdeep Singh's direction is highly disappointing. He had very weak material in his hand and moreover, he further spoils the show with his execution. The film is extremely dry and slow and very few scenes arrest your attention. There’s also an attempt to add humour with the character of the tracker and by showing Pindaris, allied with the Maratha army, as buffoons. But it just doesn’t impress. Even the revenge bit looks silly as Hunter crosses paths with Rehmat Khan twice and yet doesn’t kill him. 
THE SKY IS PINK is the story of a family facing a crisis over a period of nearly two decades. Niren Chaudhary (Farhan Akhtar) from Chandni Chowk marries Aditi Chaudhary (Priyanka Chopra), a South Delhi girl and also his childhood love, in 1986. They have a son, Ishaan (Rohit Saraf) after a few years. Aditi also gives birth to a daughter, Tanya, but she passes away in 6 months. That’s because both Aditi and Niren have a rare faulty gene. They again try for a baby and on March 27, 1996, Aisha (Zaira Wasim) is born. Sadly, just like Tanya, Aisha too gets affected due to rare faulty genes of her parents and develops a condition called Severe Combined Immunodeficiency (SCID), an immune deficiency order. They move to London for her treatment and even manage to raise double the funds needed for her treatment. At the age of 6 months, Aisha gets a bone narrow transplant but as a side effect of this treatment, she develops a serious illness of the lungs called pulmonary fibrosis. This condition comes to the fore when Aisha is 13, at a time when the Chaudharys were hoping all her problems are history and she’ll lead a normal life. Moreover, the doctors make it clear that she won’t survive for more than 5 years. What happens next forms the rest of the film. Shonali Bose and Nilesh Maniyar's story is very promising and could have made for the most touching film of the year. Shonali Bose and Nilesh Maniyar's screenplay works only in parts. A few scenes are exceptional but in some sequences, the writing doesn’t have the desired impact. The film constantly goes into various flashback modes and it might be difficult to keep a track of the same. Juhi Chaturvedi and Nilesh Maniyar's dialogues are okay. A few one-liners work well and are witty. But some of the dialogues misfire, especially the narration of Aisha penned by Nilesh. The humour in the dialogues looks forced, especially the constant hammering of Aditi and Niren’s sex life. Shonali Bose's direction is strictly okay. She had a great subject in hand but she fails to do full justice. The film gets too long at 149 minutes and should have been way shorter. At the same time, a few details are skipped and ideally should have been focused, at least briefly. Aisha was inspirational speaker but this bit is touched only for a few seconds. Ishaan in a scene also exclaims that Aditi’s video has worked wonders on the internet. The audiences would have loved to see what Aisha spoke as motivational speaker, considering that she had a great sense of humour. Similarly, Niren is revealed to have a band and that surprises viewers as this part too never gets mentioned even once until the pre-climax. Shonali tries to make the situation light so that the film doesn’t get too heavy. Hence, she adds humour and in one crucial tragic scene, a funny background score is played and this decision completely fails to impress. On the positive side, she handles a few scenes with élan. One of the most beautiful aspects in the film is the bond Aisha has with her brother Ishaan. It’ll be unanimously loved. 
WAR is the story of two patriotic soldiers fighting against each other. Khalid (Tiger Shroff) is the son of an army officer, who had joined hands with the enemies. As soon as Khalid's mother (Soni Razdan) found out, she informed the army and the father got killed by fellow officer, Kabir (Hrithik Roshan). For an important mission, Khalid is assigned a part in Kabir's team. Kabir obviously is apprehensive but Khalid wins him over with his loyalty and bravery. The story then moves two years ahead. Kabir is assigned the duty of eliminating a dreaded terrorist. Instead of killing him, Kabir bumps off his commanding officer, V K Naidu (Mohit Chauhan). Khalid and others are shocked that someone like Kabir has gone rogue. Khalid is instructed to kill Kabir immediately before he causes any more harm. While Khalid is trying to find out Kabir’s whereabouts, the latter steals army equipment in a daredevil mid-air stunt. In another act of bravado, Kabir comes in front of Khalid and informs him that his next target is a certain Dr. Utpal Biswas (Arif Zakaria). What happens next forms the rest of the film. Aditya Chopra and Siddharth Anand's story is decent and loaded with twists and turns. Shridhar Raghavan and Siddharth Anand's screenplay is effective and engaging for most parts. However in the second half, a lot of dumbing down happens which could have been avoidable. A few developments are quite unconvincing and are hence, difficult to digest. Abbas Tyrewala's dialogues aren’t memorable as such but work. Siddharth Anand's direction is simple and he shows that he has the ability to handle a film of this scale. He also joins the dots in the narrative neatly. On the flipside, he could have shortened some of the action scenes for a better impact. A few moments also give one déjà vu of past YRF films like DHOOM, TIGER ZINDA HAI etc. Lastly, the way Tiger Shroff and Hrithik Roshan are pitted against each other might not seem entirely acceptable to the fans. WAR begins on a rocking note. The entry sequence of Kabir has a twist and startles viewers. If Kabir’s entry impresses, Khalid’s entry blows one away as it’s a smashing action scene shot in one take. One expects the cat and mouse chase sequence to begin immediately from hereon. But instead, the film goes on a flashback mode to explain the dynamics of Kabir and Khalid’s bond. The mid-air action scene is quite fun while the intermission comes at a decisive point. Post interval, the Hrithik vs Tiger saga begins in full force and makes for a fun watch. The film also gets a bit stretched but the twist in the tale saves the day to an extent. Ideally a film like this should have ended on a high but the finale fight is tedious and too long. 
SYE RAA NARASIMHA REDDY is the story of India's first chapter of freedom struggle. The year is 1857. The soldiers of Rani Lakshmibai (Anushka Shetty) are wondering whether a handful of them will be able to fight the huge British army. In order to motivate them, the Queen narrates the story of the brave Narasimha Reddy (Chiranjeevi) who revolted against the British a decade before the 1857 revolt. The story then goes in flashback mode. Narasimha Reddy is a ruler of a part of the territory in South India called Rayalaseema. He is a part of a polygar which consists of several other rulers like Avuku Raju (Sudeep), Basi Reddy (Ravi Kishan) etc. All these kings get pension from the British and are expected to be submissive to the Crown. Narasimha Reddy however is in disagreement with this arrangement and is finding a way out to free his kingdom from the clutches of the British. The region faces drought and to appease the rain gods, Narasimha Reddy's learned mentor Guru Gosayi Venkanna (Amitabh Bachchan) asks for a yagna to be conducted. Narasimha is shocked as he learns that the last time a similar yagna took place was in his childhood and that time, he was married off to Siddhamma (Nayanthara). But the married couple was kept apart as there was a 'dosh' in their union and they could reunite only after another yagna. Narasimha Reddy is devastated at first as he loves Lakshmi (Tamannaah Bhatia). With a heavy heart, Narasimha Reddy leaves Lakshmi and advises her to use her dancing talent for the greater good. He then accepts Siddhamma and begins his married life. Despite the drought, the British officer Jackson (Oscar Skagerberg) asks for tax from farmers. He even mocks them and once while he’s doing so, Narasimha Reddy arrives and teaches him a lesson. An angry Jackson enters a village ceremony and eliminates 5 farmers and a child. Narasimha Reddy is so angry that he enters the British settlement, attacks the soldiers and then beheads Jackson. The other rulers of the polygar refuse to help him at first but then join Narasimha Reddy in challenging the mighty British Empire. What happens next forms the rest of the story. Paruchuri Brothers's story is excellent and makes for a grand, patriotic film. They have obviously fictionalized a lot of developments in the plot but it has been done very well. Surender Reddy's screenplay is confusing in the beginning as too many characters get introduced and it might seem difficult to understand who is exactly related to whom. But in the later sequences, the script is quite effective and packs a punch. Manoj Muntashir and Jitender Pawar's dialogues are sharp although some of them are over the top. Surender Reddy's direction is quite massy and simple. Most of the important scenes are well executed and leave a lasting impression. He stirs up the viewer’s emotions beautifully. One can’t help but hate the British for their atrocities and one can’t help but root for Narasimha Reddy for his acts. On the flipside, the initial portions are strictly average. The film moves too fast, since it’s already too long at 171 minutes and hence, a few scenes don’t make the desired impact. There’s also a déjà vu of BAAHUBALI, the Hollywood flick 300 and even surprisingly THE AVENGERS and this was avoidable in many places. SYE RAA NARASIMHA REDDY’s initial portions are not very impressive. The proceedings are neither great nor terrible – it’s somewhere in between. The first 30-40 minutes are spent in introducing the characters, the setting, location etc. The entry of Siddhama makes for a great twist in the tale. But a few developments are difficult to digest at this point. Sidhamma remembers her marriage, which took place in the childhood, without fail but Narasimha Reddy doesn’t even know he’s married! However, the film really picks up in the scene where Jackson arrives at a farmland and mocks a farmer. The manner in which Narasimha Reddy gives a monologue and challenges Jackson is clapworthy. The intermission sequence however is even better and the audiences in single screen cinemas will go crazy at this point. The second half too has some great moments though they could never reach the level of the aforementioned sequences of first half. It also gets a bit too long. But it keeps one engaged. The finale is powerful and the film ends on a rocking note.