Category - Bollywood

[mks_button size=”medium” title=”Average Rating of All ‘M Cream’ Review – 1.7 stars” style=”rounded” bg_color=”#1e73be” txt_color=”#FFFFFF” icon=”” icon_type=””] M Cream Review by The Times Of India Rating: Debutant director Agneya Singh takes an uncanny approach in his depiction of the Indian middle class. Instead of glorifying them, he unravels their flawed side. These youngsters are from affluent families, lacking a sense of purpose. They are losing their bodies and soul to alcohol and drugs. At its basic premise, the plot has promise. But its slim screenplay fails to delve better into the psyche of these youngsters, making the characters caricaturish. M Cream Review by Indiaglitz Rating: The story on papers, looks good and has lots of layers attached to it. Few scenes between Ira and Imaad are enriching. Also, the scenes involving the arguments related to revolutions are worth a watch. The cinematography is great and all the locations of the Himalayas were breath-taking.Imaad Shah reminds you of young Naseeruddin Shah. Ira Dubey looks sweet. Aurita Ghosh and Raaghav Chanana looks great and are fine in their respective parts. M Cream Review by Rohit Vats on Hindustan Times Rating: Director Agneya Singh is ambitious like most debutants. He wants to present his side on so many things: Drugs, politics, literature, alcohol, love, sex, freedom and revolution. He mostly speaks through Shah’s Fig, a guy with a mop of hair and a love for poetry. He loves to quote authors and can differentiate between Vikram Seth, Rabindranath Tagore and Jimmy Hendrix. It’s been a while we saw a well read Indian youth on screen. M Cream Review by Devarsi Ghosh on India Today Rating: The saving grace of the film is its cinematography, music, and well, Imaad Shah. Thank heavens, the film looks good, if not anything else. Cinematographer Mingjue Hu is a talent to watch out for. So is the music ensemble of Srijan Mahajan, Arsh Sharma and Nikhil Malik whose brilliant soundtrack did not deserve this film. Finally, Imaad Shah. The young lad fits the role of Figs to the T. If good acting is something where you cannot see the effort, something which convinces you about the reality of the character, then Imaad Shah is fantastic in M Cream. Nothing else matters. Review by Aastha Atray Banan on Mid-Day India Rating: Director Agneya Singh had earlier told us that through the film, he wants to address the new youth of India, which has an opinion and wants to voice it. He has managed to do that with M Cream with characters that believe in different things — Jay who wants to change the world and Figs who wants it to burn down. Dubey and Shah are adept at what they do. But it’s Shah who really steals the show. The character seems to be an extension of his real self, and you will have newfound respect for him. All in all, a fun, unusual watch for the weekend. Review by IANS on Indian Express Rating: The script written Agneya Singh is an impassive, meandering narrative with verbose expositions that discuss; freedom, revolution, faith etc… The film is crafted like a soapbox lecture and you keep wondering where the narrative will lead to, till you realise that this is a slice of life film. Review by Manisha Lakhe on Nowrunning Rating: ‘This film is about drugs and alcohol, but it will be in ‘art’ space.’ The moment that is decided, then you also know the fate of the four protagonists of the film whose stories are so hysterically mundane, you find yourself napping. Napping, opening eyes, finding nothing has really happened, napping, opening eyes, discovering empty coffee cup in your hand cannot keep you awake. And there’s plenty to keep you awake: poetry, sex, views of the Himalayas. The film fails here too. Review by Kunal Guha on Mumbai Mirror Rating: Having acquired a censor certificate from CBFC’s previous administration, this cinematic blot takes pride in managing to release the international version in India. But save a few close shots of lovemaking, where the act is furnished with just enough to suggest much, there’s little that would’ve raised objection. When Imaad Shah squints, he reveals a fleeting glimpse of his legendary thespian dad. Sadly, he knows this and does just that — once in every scene. Ira Dubey’s restrained performance is tolerable but fails to change this film’s fate. Review by Vishal Verma on Glamsham Rating: Imaad Shah is cool and it’s a pleasure to find a well read youth quoting from Tagore to Seth and remains a care free dude who rebels without a cause. Ira Dubey is fine, Auritra Ghosh is okay, Raaghav Chanana is passable. Other cast Tom Alter, Lushin Dubey, Tenzin Woeser, Barry John and Beatrice Ordeix are fine. Beyond some festival recognition for being an indie M CREAM at the most can put a fleeting smile to the hip-hop junkies for the rest the ‘Doors’ remain close. Best Rated Films in 2016 Neerja – 4 stars The Jungle Book – 3.8 stars Airlift – 3.7 stars Kapoor & Sons – 3.7 stars Udta Punjab – 3.5 stars Fan – 3.5 stars Sultan – 3.3 stars Dhanak – 3.3 stars Phobia – 3.3 stars Waiting – 3.3 stars Sarbjit – 3 stars TE3N – 2.8 stars Azhar – 2.6 stars Traffic – 2.6 stars Laal Rang – 2.5 stars Ki & Ka – 2.5 stars Housefull 3 – 2.2 stars Veerappan – 2.2 stars Baaghi – 2.2 stars Rocky Handsome – 2.1 stars Rough Book – 2.1 stars 7 Hours To Go – 1.8 stars Do Lafzon Ki Kahani – 1.7 stars Junooniyat – 1.6 stars Shorgul – 1.6 stars Great Grand Masti – 1 stars

[mks_button size=”medium” title=”Average Rating of All ‘Kabali’ Review – 2.6 stars” style=”rounded” bg_color=”#1e73be” txt_color=”#FFFFFF” icon=”” icon_type=””] Kabali Review by Bollywood Hungama Rating: The film’s script (written by Pa. Ranjith) is something that may not be as tangible to a non-Rajinikanth fan. There are scenes in the film that may defy human imagination and logic, but, then, with Rajinikanth at the helm of things, logic and rationalism be damned! Having said that, the script also does not fully provide Rajinikanth’s onscreen antics, something that he is known for over the years. The film’s director Pa. Ranjith (whose last film MADRAS was a blockbuster) needs to be applauded for having made a film that shows Rajinikanth playing his age. Even though Pa. Ranjith does not do anything way different from what we have seen before in the past Rajinikanth films, still he manages to keep the film engaging for the audience. The flip side is that, even though there are ‘Rajini-isms’ that the film boasts of and rests on, KABALI leaves a huge vacuum devoid of Rajinikanth’s histrionics, something that his hardcore masala fans will miss. Additionally, the film also starts lagging at many places (especially during the second half). Add to that is the film’s slow pace and irregular narration, which takes the steam out of the film. It will just not be wrong to say that it’s only the screen-presence and the inimitable charisma of Rajinikanth that rises up to save the film on many occasions. Kabali Review by Srivatsan on India Today Rating: As for the performance, Kabali is easily Rajinikanth’s best performance in recent years. Very few actors have matched Rajinikanth’s performance in his other films; Radhika Apte as Kabali’s wife Kumudhavalli does it here with top-notch acting, reminding one of actor Lakshmi’s role as Rajini’s wife in Netri Kann. However, apart from its leads, Kabali falls short of performance as far as the supporting cast is concerned. Pa Ranjith could have easily roped in some well-known actors from the industry who could actually bring some flavour to their roles. Kabali Review by Ritika Handoo on Zeenews Rating: Kabali is a poor man’s messiah—the good Samaritan who might be holding guns and flying bullets yet he is revered as great. Pa Ranjith has written and directed this open-ended affair, hinting clearly at a sequel in the pipeline. Had the storyline been something really different and not a predictable one, we would have loved it more. Although, the dubbing makes the original dialogues look a little over-the-top and superficial yet we love to see those patent Rajini moves and actions. The signature pose where Kabali comes and sits all suited-booted with one leg on the other has been beautifully captured from low angles—giving that larger-than-life feeler to his stature. G Murali’s camera work is brilliant and not to miss the action loaded punches in the movie. Kabali Review by Sreeju Sudhakaran on Bollywood Life Rating: There is nothing wrong in cashing on a superstar’s aura, but you need to back it up with an engaging plotline. However, director Pa Ranjith is more obsessed in being awe with Rajinikanth than write a good story around him. There is nothing new in this gangster flick that we have not seen in Tamil film before – one dimensional villains, hero remaining unharmed even when he is shot, becoming a one-man army who eliminates his enemies. The film is too predictable with very few surprises. This is inexcusable coming from such a talented director. The scenes involving The Free Life foundation that Kabali runs and that subplot involving one of its inmates, Meena, is so boring and should have been trimmed. If the first half has a little to cheer about, the second half is just a boring, dragging mess. You could see a little intelligence somewhere where the director shows his geeky love (an ageing don is named Ang Lee, while two companies of the villains are called Tony Pvt Ltd. and Stark Corp.), but there are very few. Radhika Apte gets no scope, although she acts admirably with what she has. The biggest victim is Malaysia that is shown as the land of gangsters, pimps and drug dealers, and all the Indians there are Tamilians. The final scene of the film will leave you confused. Also, for a Rajinikanth film, the film has very few punchlines. Surprisingly for a film with so much blood and shootings, its rated U. What happened there, Censor Board? Kabali Review by Thinkal Menon on The Times Of India Rating: As Ranjith isn’t a run-of-the-mill director, and is considered as someone whose screenplay and dialogues have hidden meanings, comparisons with his previous films are but in order. In Kabali, one shouldn’t expect the freshness in script and making style which his Madras offered. The flashback portions, on occasions, test one’s patience, and lack evenness. The songs by Santhosh Narayanan are soothing to watch on screen, too. The stunt sequences and shoot-out scenes choreographed by Anbarivu, with Rajini putting his best foot forward, is sure to give adrenaline-rush to his fans, and are, in fact, among the things that work in favour of the film, in addition to an emotional scene. The story, perhaps, needed a tighter screenplay, but watch it for ‘Thalaivar athiradi’. Nothing more, nothing less! Kabali Review by Saibal Chatterjee on NDTVMovies Rating: Director Pa Ranjith, who has also written the screenplay, reins in some of the megastar’s defining traits. While he is indeed Kabali the Boss, he isn’t a self-multiplying Robot. Rajini’s achievement, as always, is that he manages to hold the audience in thrall even when the film threatens to flag – this despite the fact that he is only peddling time-worn tricks. Review by Krishnakumar Padmanabhan on Mid-Day India Rating: In theory, this could have been a great film, but the characterless – literally and figuratively – script is not only bereft of any intelligence or imagination but also telegraphs what little plot twists it has. The resultant soggy mess of a film is thus neither director’s nor star’s. Ranjith has, somehow, managed to deliver a Rajini movie with no ‘Rajini’ in it. Review by Vignesh Radhakrishnan on Hindustan Times Rating: Like every other such movie, there are revenge kills and fast-paced scenes that keep you on edge. But just as things start getting wild, an emotional drama starts and puts you in sleep mode. This start-stop nature of the film will be criticised and analysed in days to come. But where the plot stutters the subtle mannerisms become the strength of the film – deft hand movements, a sarcastic smile on the corner of the lip and close-ups of Rajinikanth where the raw actor in him comes out, reminiscent of his past character roles. And that is why Kabali will be talked about, for Rajinikanth’s emotions. Review by Shubhra Gupta on Indian Express Rating: Actually, Kabali does make an attempt at a plot, but it is half-baked. It is set in Malaysia. The arch villain is a local. The superstar has been given not one but two young women as adoring satellites. But nothing in this bloated, overlong enterprise can hide the fact that the superstar is distinctly slower, less nimble on his feet, making the holes in the film much more visible. Review by Jaidev Hemmady on Movietalkies Rating: The film lacks a cohesive script and tends to drag a lot at times and had it not been for the Thalaiva, the film might have even been termed as intolerable. The supporting characters ham with a terrifying gusto and apart from Rajini, Radhika and Dhansika, who plays Kabali’s daughter Yogita, there is nothing worth watching performance-wise in the film. Furthermore, some of the scenes are quite disjointed, which makes you wonder what is going on at times. Review by Raja Sen on Rediff Rating: The drama is all there but as the bodies pile up, so do the laughs, and the whole thing comes together rather cartoonishly. All the actors seem to be performing in a different pitch, and — besides Rajinikanth enjoying this rare modern-day performance of relative restraint — everyone else is all over the place. At one point in the film, Apte hyperventilates with such enthusiasm I was convinced her character had been rendered mute. Review by Arun Venkatraman on Deccan Chronicle Rating: As the film opens, you see a Rajinikanth who is broken and bruised. Of course he still beats up goons to a pulp, but there’s something that’s not the same. The difference is, this time around, he is more convincing than ever as the ageing don, who returns with vengeance in his heart after 25 years in jail. It’s clear that Ranjith is at the helm and that is new. You don’t often get to notice the influence of a director in a Rajinikanth film, not in recent times at least. Even before his gritty Madras hit the screens, Ranjith had established his potential to play with undertones in the critically acclaimed and appreciated Attakathi. And credit should be given where it is due. There are no needless songs and even the over-the top punchlines have been toned down. It is Ranjith’s genuine attempt at showing us the Rajini that K. Balachander discovered. However, it’s only an attempt; not a success. Ranjith’s choices for cast seem to be a little skewed as John Vijay as Ameer and Attakathi Dinesh are largely unimpressive and Dhansika’s character loses its punch in the second half. Review by Rajeev Masand on News18 Rating: The film’s first half moves briskly as flashbacks detail our hero’s rise to power, and the history behind Kabali and Tommy Lee’s rivalry. Also, a key plot twist reveals the real identity of a significant character, which subsequently leads to another major discovery. Post intermission, however, the film becomes an orgy of gunfire and violence, and any semblance of plot and story quickly goes out of the window. Is it merely enough to give fans a larger-than-life Rajni who delivers punchy dialogues, dresses like a dude, walks with a swagger, and yanks out a wrench from inside his sleeve to pummel his rivals? As it turns out, it’s not. That formula’s gotten rusty. Which is why Kabali, while definitely an improvement on Lingaa, is still a disappointment. Review by Vishal Verma on Glamsham Rating: The most striking aspect of KABALI is the emergence of actor Rajinikanth overpowering the superstar Rajnikanth in the film. The scene in which he meets Radhika Apte after 25 years is a testimony of Thalaivar’s acting powers. The talented Radhika Apte delivers a top notch performance and it’s her big leap in the popular format. Winston Chao is strictly okay. The Hindi dubbing is passable. Nasser is fine in his limited footage. What’s cringing is the lethargic pace which makes the narrative boringly long and of course the style Badshah of south forgot to fickle his glares, ruffle his hair (only once), toss chewing gum or something else in place of those cigarettes for his dear ‘Rajiniatics’ round the globe. Review by Kunal Guha on Mumbai Mirror Rating: Rajnikanth, at 64, seems like a clone of himself. His performance is like an artist’s ‘best of’ album. A signature line, a distinct manner of sliding a gun from within his cuffs to spring into action and the kind of insults that would make his opponents feel and seem small. Apte’s performance is restrained, save the scene where she breaks down. Review by Manisha Lakhe on Nowrunning Rating: Yes. The film exhausts everyone. As a Rajini fan, I have come away feeling demoralized. Was it the language? There is a Tamil, Telugu as well as the Hindi version. But it’s not that. It’s the lack of a story. It’s like a fanboy film. Is that why the star laughs at it so much? Kabali Review by Indiaglitz Rating: ‘Kabali’ is a film that you should not miss for Rajini’s fantabulous acting, clap worthy dialogues, and sparkling emotional moments. A more powerful story and a tighter screenplay would have made it much better. Review by Meeta on Wogma Rating: In fact, even Kabali’s catchphrase is outright lame. It all boils down to Rajinikanth’s delivery to make it as stylish as he possibly could. And yet it doesn’t work. Other than that then, he plays his suave best. One scene in which he is overwhelmed by emotion stands out giving you a glimpse of what the actor can do despite the star in him. The rest of the film is only to serve the over-arching purpose called “Rajinikanth”. In that too, Radhika Apte tries to hold her ground. You can tell she is trying to blend into the genre but can’t help herself every once in a while. The other members of the cast overdo everything with shrills. It becomes repetitive and annoying. Best Rated Films in 2016 Neerja – 4 stars The Jungle Book – 3.8 stars Airlift – 3.7 stars Kapoor & Sons – 3.7 stars Udta Punjab – 3.5 stars Fan – 3.5 stars Sultan – 3.3 stars Dhanak – 3.3 stars Phobia – 3.3 stars Waiting – 3.3 stars Sarbjit – 3 stars TE3N – 2.8 stars Azhar – 2.6 stars Traffic – 2.6 stars Laal Rang – 2.5 stars Ki & Ka – 2.5 stars Housefull 3 – 2.2 stars Veerappan – 2.2 stars Baaghi – 2.2 stars Rocky Handsome – 2.1 stars Rough Book – 2.1 stars 7 Hours To Go – 1.8 stars Do Lafzon Ki Kahani – 1.7 stars Junooniyat – 1.6 stars Shorgul – 1.6 stars Great Grand Masti – 1 stars

[mks_button size=”medium” title=”Average Rating of All ‘Madaari’ Review – 2.7 stars” style=”rounded” bg_color=”#1e73be” txt_color=”#FFFFFF” icon=”” icon_type=””] Madaari Review by Bollywood Hungama Rating: The film’s director Nishikant Kamat (who had directed the action packed Rocky Handsome earlier this year) does a very average job with MADAARI. Given the fact that, hard hitting films happen to be Nishikant Kamat’s homeground, the audiences’ huge expectation that he would bring something new with MADAARI, sadly remains unmet. While the film’s first half is average with no edge-of-the-seat thrills, the film loses its remaining charm in its stretched second half. Its only the film’s last 15-20 minutes that actually have a gripping effect on the viewers. Madaari Review by Sreeju Sudhakaran on Bollywood Life Rating: Madaari may have its heart in the right place, but an average direction and flawed narrative let down the movie’s honest intentions. Watch it only for a terrific Irrfan Khan! But then, the man is good even he is being shown just sitting on a bench! Madaari Review by Manjusha Radhakrishnan on Gulfnews Rating: Director Kamath doesn’t utilise heavy-duty action sequences or bombastic dialogues to drive the story forward. He lets the characters play out their emotions. While the second half meanders, the conclusion isn’t a let down. The face-off between a criminal and the corrupt politicians packs a punch. Madaari would have benefited hugely from a 10-minute trim (the songs underlining the father-son bond were excessive). But in all, Madaari was engaging and touched upon some deep subjects such as corruption, the power of social media and public opinion, with alacrity. Madaari Review by Saibal Chatterjee on NDTVMovies Rating: Madaari, directed by Nishikant Kamat, makes the right noises about the state of the nation and its people owing to the machinations of avaricious and insensitive politicians and crony contractors. However, the methods that the film uses in order to do so are rather fanciful, if not outright harebrained. Irrfan, at the top of his game as an actor, goes all out to inject some energy into the narrative. Review by Savera R Someshwar on Rediff Rating: Madaari does not make you cringe. It does not make you angry. It does make you, at least for the few hours that you are in the theatre, want to stand up and do something about the system. It is not a film that will stay with you as you, in your day to day routine, succumb to the pressure and become part of the corruption that ails our system. At the end of the day, it does not even make you applaud the protagonist or his journey. It was a film that needed defter handling. Stronger performances. Better editing. Review by Sweta Kaushal on Hindustan Times Rating: Ultimately though, Madaari crumbles under its own lofty ideals and ambition. The slow pace makes the fall even more painful and enduring. And that it had two brilliant actors in Irrfan and Jimmy, who were grossly under-used, only adds to injury. Review by Jaidev Hemmady on Movietalkies Rating: Irrfan’s chemistry with the child actor is non-existent and it is tough to swallow the ‘Stockholm Syndrome’ theory that the kid prattles on about simply because there are no such moments between the kidnapper and his victim, which could have justified a bond between the two. The second half of the film drags on and on, making you wonder when the film will end. We agree that the plot had potential and could have been a hard-hitting drama if it had been handled well but the loose screenplay, the uninspiring dialogues and the weak climax is bound to leave you sorely disappointed. Review by Manisha Lakhe on Nowrunning Rating: Had this movie been short and succinct, the rating would have been through the roof. The child actor does a decent job and Irrfan is good too when he’s not hamming the ‘I’ve been wronged!’ part. The movie is average because there is nothing subtle and instead of coming away with any hope for change, you come away as if you have been attacked by a sledgehammer for almost three hours. Review by Vishal Verma on Glamsham Rating: Director Nishikanth Kamath does well in limiting the action to minimum and staying on father son emotions for a change and it has come out well but the wait is too long. It’s disappointing to see a relevant backdrop to the story fails to make the impact and further the hackneyed and hurried climax adds to the wounds. Irrfan Khan plays with his known force of a gifted performer and is consistently brilliant throughout. The talented actor is the only reason that makes you sit through this routine affair. The kid Vishesh Bansal as Rohan Goswami is excellent. Jimmy Shergill as the investigating officer is fine in the available footage. Tushar Dalvi as the home minister is good. Madaari Review by The Times Of India Rating: Kudos to Irrfan and Nishikant Kamat for daring to make this poignant, provocative and politically incorrect piece of cinema, that makes its point unabashedly. Though predictable and a tad stretched, the emotional crime drama unfolds like a thriller. It tears your heart out by exposing the plight of the Middle-class citizens and their ‘aukad’ in the eyes of those in power. Review by IANS on Zeenews Rating: Directed astutely by Kamat, the film is compact and never digresses from the core subject. It is engrossing and powerful. The screenplay is taut and the characters well-etched and real. ‘Masoom sa’ rendered powerfully by Sukhwinder Singh is emotionally disturbing. It drives home the message of the father’s irreversible loss and captures the mood of the film. The unhurried pace of the narrative, does not seem out of place and in fact gives ample time to let the plight of the father grow. The final face off, although overtly dramatic would incite and appeal to the common man. With a wide range of lenses, cinematographer Avinash Arun brilliantly captures the locales and finer nuances of the performances. Overall, ‘Madaari’ is an absolute treat both for cine-goers and every citizen of India, who is concerned about his country. Review by Suhani Singh on India Today Rating: Irrfan juggles between being the emotionally manipulative and impatient kidnapper to a father struggling to cope with the tragedy. There are moments of vulnerability too which he handles well to draw viewers’ sympathy – especially in one striking scene in the hospital in which he breaks down. But Madaari’s preaching for a better world doesn’t always inspire, it more often bogs you down. Is Nirmal’s outrage enough to change the system? For a film which makes a call for cleaning up the system, its last scene is rather off putting. Kamath’s second release of the year is better than his earlier effort, Rocky Handsome. Here the saving grace is Irrfan’s act. He truly is the Madaari here. Review by Rohit Bhatnagar on Deccan Chronicle Rating: It seems like Nishikant Kamat has a special affinity to kids being a huge part of his movies. His previous two outings had emotional trips with the kids along with the protagonists of his movies. The director has managed to encapsulate beautifully the father-son relationship throughout the film. While the backdrop of the film bears striking resemblance to Neeraj Pandey’s ‘A Wednesday’, ‘Madaari’ has an emotional journey attached to it apart form the critical take on the political system. The movie clocks in at about two and a half hours and will keep you glued to the screen till the very last frame. The film also showcases shades of Stockholm Syndrome, which will remind you heavily of Imtiaz Ali’s ‘Highway’. The director, however, manages to make ‘Madaari’ stand out in every possible manner. Madaari Review by Indiaglitz Rating: The story has lots of similarities with several films like ‘A Wednesday’, ‘Andha Yudh’, ‘Gabbar’, ‘Te3n’ and many more. It’s something which we have seen several times, making it highly predictable. The second half has been stretched a bit along with bit unconvincing climax part. If the finale part would have not been so predictable, it would have managed to leave a hard-hitting impact on its viewers mind.The movie also needed bit trimming in both the parts of the film. Some of the positive merits of this movie gets diluted due to the predictable tale and less amount of freshness attached to it. ‘Madaari’ narrates you a gripping tale with mind-blowing performance by Irrfan Khan along with a good dosage of emotions. The lack of freshness hampers the film in a big way, but nevertheless it’s a decent film for all those who love good cinema. Review by Bryan Durham on DNA India Rating: The film’s a little too long at two hours-plus. One feels that shaving off at least half an hour, would’ve kept one more invested in the story (apart from the performances). There are truly beautiful scenes that come too few and far between to really let it sit with you. The music is very middling. This film needed a strong supporting cast, and that only comes from Bansal and Sheirgill and that really doesn’t say much. While one agrees that we need a mirror to our lives and that this follow-up to A Wednesday (it follows the same idea – a common man righting wrongs) played its part, it needed to make us more a part of its supposed movement than just treat this as another film. But it doesn’t and that’s really sad. Review by Shubhra Gupta on Indian Express Rating: Big words, these. And big concepts. Their utilization in the film’s plot is too literal, first in the way Nirmal tries to avenge a personal tragedy by targeting a top politician through his son, and then in all the oratory. In between the speechifying is the action which involves Nirmal being on the run with a little boy (Bansal), a cop (Shergill) hot on their heels, a teary mum, and a bunch of fat cat ‘netas’ and contractors who are all part of the corruption that has eaten into our nation. Review by Rajeev Masand on News 18 Rating: Madaari sticks to a template similar to Neeraj Pandey’s A Wednesday, but doesn’t drum up the same urgency. The cops, led by a solemn-faced Jimmy Shergill, find themselves engaged in a wild goose chase for Nirmal, but there’s very little tension to this battle of wits. Review by Shaheen Parkar on Mid-Day India Rating: Jimmy Sheirgill as the cop sleepwalks through the role. He has done similar stuff umpteen times. It is sad to see him typecast. Towards the end, when you feel for Nirmal and his loss, comes a pretty dramatic and filmy end — when the protagonist brings everyone associated with the bridge collapse down to their knees begging forgiveness. This is coupled with a lot of dialogue-baazi about corruption, inefficiency, accountability and red tape. Pretty much as expected, the film concludes with victory of the common man’s voice. Watch it only for Irrfan and to know why he is top of the heap when it comes to histrionics. Review by Kunal Guha on Mumbai Mirror Rating: Madaari is saved to large extent by its eponymous lead Irrfan Khan, who manages a striking performance, despite the predictable storyline. Child actor Vishesh Bansal has a fair share of screen space and delivers on the job. Jimmy Shergill, though largely marginalised after an elaborate introduction, is unobjectionable. Returning to the big screen after long, Tushar Dalvi is as dependable as ever. The film’s tagline, “Sshhh… desh so raha hai” is apt as it truly depicts the audience watching this film. Review by meeta on Wogma Rating: In fact, there are times in movies with a social message make you wish even adults didn’t speak like adults. Madaari doesn’t have too much of it but it does fall into the preachy category towards the end, in a very, “you can’t handle the truth” manner. That aside, use of daydreams is another element that was quiet annoying. It’s alright for the first couple of times because they are small sections. But playing with the audience using longer sequences of such gimmickry is almost like cheating, like saying it out loud that they aren’t confident of the real drama, the real story. Also, it breaks the rhythm of the film. Though the pace of the film slackens because there is nothing new happening in one section of the film, it had a tone. This tone becomes uneven and distracting. Best Rated Films in 2016 Neerja – 4 stars The Jungle Book – 3.8 stars Airlift – 3.7 stars Kapoor & Sons – 3.7 stars Udta Punjab – 3.5 stars Fan – 3.5 stars Sultan – 3.3 stars Dhanak – 3.3 stars Phobia – 3.3 stars Waiting – 3.3 stars Sarbjit – 3 stars TE3N – 2.8 stars Azhar – 2.6 stars Traffic – 2.6 stars Laal Rang – 2.5 stars Ki & Ka – 2.5 stars Housefull 3 – 2.2 stars Veerappan – 2.2 stars Baaghi – 2.2 stars Rocky Handsome – 2.1 stars Rough Book – 2.1 stars 7 Hours To Go – 1.8 stars Do Lafzon Ki Kahani – 1.7 stars Junooniyat – 1.6 stars Shorgul – 1.6 stars Great Grand Masti – 1 stars