Yeh Saali Aashiqui

#FinalVerdict: Deliciously twisted!

3 stars

The sheer thrill of watching a film and not knowing what will happen next is one of the great pleasures offered by producer Dr. Jayantilal Gada's Pen India Ltd. and debutant director Cherag Ruparel's Yeh Saali Aashiqui.

A compelling plot (Cherag Ruparel and Vardhan Puri) that has the potential to keep the viewer captivated, Yeh Saali Aashiqui tantalizes and teases the spectator but is quite unpersuasive at certain junctures as well. You're on the edge of your seat virtually for sure. Movies with such an audacious theme generally ignite debates and this film is sure to meet with severe reactions. The makers ought to be prepared for some bouquets & brickbats. What makes the movie watchable is the raging ambition and commitment.

Yeh Saali Aashiqui is nonconforming. It rebels against the set-patterns, norms and formulas of Bollywood masala flicks. The story (Cherag Ruparel and Vardhan Puri), situations and the treatment of the narrative cannot be compared to any Hindi film witnessed so far. Well crafted with some great moments, Yeh Saali Aashiqui is not just style, but substance as well. There's no stopping this adroit storyteller, Cherag Ruparel. He continues to shock and startle you till the last frame. No one can predict what's in store next.

The casting (Manoj Lila Bhatt) also adds to the experience. Under normal circumstances, the inclusion of characters only results in things getting messier and chaotic. Not here in Yeh Saali Aashiqui! This film is more psychological thriller than bloody blast. As aforementioned, Yeh Saali Aashiqui gleefully shatters clichés and rejects conventional plot turns to surprise you at every available opportunity. The turn of events continues to keep you engrossed, immersed and takes the film to an all-time high. The film has some outstandingly executed sequences. The transformation of a simple boy to a hardened man is amongst the most convincing aspects. The film's nail-biting crescendo is completely justified in the end.

Any roadblocks? Yeh Saali Aashiqui could've been shorter. Also, the slow pacing acts as a deterrent. There is a misogynistic streak that pops up in the second half which was totally unnecessary. If trimmed slightly, it should only prove advantageous.

Debutant Cherag Ruparel is a director to watch! The expertise with which he has handled the tense-filled moments should win him all-round praise. He strikes the right balance between realism and commercialism, between form and content. The background music (Hitesh Modak) is fantastic, enhancing the impact of sequences considerably. Cinematography (Pratik Shah) is amongst the assets of Yeh Saali Aashiqui. The editing (Anirban Dutta) could have been tighter. The dialogues (Cherag Ruparel and Vardhan Puri) are flawless.

Besides a racy screenplay, Yeh Saali Aashiqui rests on two solid performances, that of debutant Vardhan Puri and debutante Shivaleeka Oberoi. Vardhan Puri handles the part like a pro. This film is sure to multiply his fan following tremendously. Shivaleeka Oberoi delivers a knock-out performance. A tricky role that demands histrionics and she takes to her part like a fish takes to water. Jesse Lever is a talent to watch out for, portraying his part with gusto.

All said and done, Yeh Saali Aashiqui is a bold step forward and has some fresh things to say about love, passion and deceit. For the most part, this unusual & gripping thriller keeps you on your toes, curious to see where its twists and turns will lead. Surprise shocker of the year!

Commando 3

#FinalVerdict: Bare-bones!

2 stars

Producers Vipul Amrutlal Shah's Sunshine Pictures, Shibasish Sarkar's Reliance Entertainment and Motion Picture Capital's Commando 3 arouses about as much emotion as an early morning jog on a treadmill but the end result is simply not compelling enough.

Commando3 will undoubtedly change the action landscape of Bollywood, with Vidyut Jammwal partaking in never-witnessed-before action sequences, hand-to-hand combat, mid-air splits and somersaults but Darius Yarmil and Junaid Wasi's story is plain ordinary. The film does manage to catch you unaware with some interesting twists and turns and the first half also successfully manages to build the momentum with some really stylish action scenes thrown in but it's the film's disjointed second half that drags predictably, which mars the overall impact. Also, it will take some nerve to sit through the brutal, gory and graphic violence in Commando 3. But its biggest strength is, without an iota of doubt, the action sequences (Andy Long Stunt Team United Kingdom, Allan Amin and Dr. K Ravi Verma).

Darius Yarmil and Junaid Wasi's story uses cliché tropes and scenes replete with loaded patriotic dialogues, making Commando 3 a jingoistic affair. There are enough scenes involving the good Muslims to point out that the film is only against bad elements in any community. The screenplay lacks novelty, acting as a spoilsport. The weak script lands up making the film all style & no substance. There’s no denying the fact that the story is so stretched, even the high-octane action doesn’t keep you invested all through. The narrative of Commando 3 is implausible and tries to pack in so much that it loses grip and pace more often than not. The background score (Saurabh Bhalerao) attempts to elevate the drama but is often overbearing. Also the dialogues (Darius Yarmil and Junaid Wasi) are strictly okay. While the kicks, punches, back-flips, smooth landing and hand-to-hand combat scenes keep you hooked, the chest-thumping jingoism is annoying. Sadly, Commando 3 has nothing more to offer. The intermission point, though filmy and beaten to death, warrants attention.

Director Aditya Datt goes overboard this time as he tries to pack as many emotions as possible in one film. Although he does garnish the action drama with romance and music but doesn’t quite succeed in integrating these well in the film. Average direction! The DoP (Mark Hamilton) is the behind-the-scene star of Commando 3. He deserves distinction marks for his camerawork, capturing the stunts with elan. The soundtrack (Vikram Montrose and Mannan Shaah) is good. Editing (Sandeep Kurup) could've been tighter.

Commando 3 clearly belongs to Vidyut Jammwal. The liberty of watching him crushing everything and everyone in sight leaves you tongue-tied. He's a fine actor too, but it's the action that takes precedence over histrionics here. His act will be greeted with whistles and claps, especially in the last 30 minutes. By doing the stunts without a body double or cables, he fits into the definition of India's Next Gen action hero without a hitch. The leading ladies get to kick butt, too, and both Adah Sharma and Angira Dhar seem to enjoy it. Adah Sharma's role has shades that are essential for a Hindi film heroine and gives it her best shot. Angira Dhar also comes across as a poised and self-assured actress. Gulshan Devaiah delivers an unparalleled performance, yet again in Commando 3. He's one of the finest talents around and even though he plays the conventional baddie, he will be recalled in the same breath as the protagonist of the film.

On the whole, Commando 3 is vintage good versus evil saga, which is high on breathtaking action but has a routine drama. With the story and the message that the director intended to convey, it could have been easily wrapped up in a crisp hour and a half. Thus, it would appeal only to its target audience.

Hotel Mumbai

#FinalVerdict: Gut-wrenching!

3 stars

Hotel Mumbai shows us the terror we find in terrorism. One relives the emotions while watching the horrifying events unfold on-screen. That's precisely why it triumphs as a feature film. Thumbs up!

Hotel Mumbai, based on the 2009 documentary Surviving Mumbai, is more or less a true story, with a gripping and gut-wrenching - at times, almost too gripping - screenplay by director Anthony Maras and John Collee, which leaves you stunned and traumatized. It is a ticktock of horrific violence, which began in Mumbai's main train station and shifted to the Taj. The movie grabs your attention from the inception itself. Each and every sequence that unfolds on-screen gives you goosebumps. It's chilling!

Hotel Mumbai is an unsparing clockwork thriller, which depicts that the worst of tragedies can inspire the best in its victims. The callousness with which the terrorists operate is palpable and conveyed with a degree of verisimilitude that borders on sadism. Director Anthony Maras makes sure he doesn't skip a beat while narrating the vital episodes. Sure, the skeptics may argue, we have read and seen it all through various forms of communication, but what the director accumulates is beyond words. The film is skilfully made and co-writer/director Anthony Maras clearly wants to pay tribute to those who risked their lives to help others. One relives infuriation, distress, grief & helplessness while watching the dastardly events unfurl on-screen.

That tension is the most problematic - and therefore interesting - thing about Hotel Mumbai. There's a quiet radicalism in making a movie that is, at its heart, all about people who sacrificed their lives in saving others. It makes you salute & respect them. Director Anthony Maras must have faced the challenge to reconstruct the events and replicate the gruesome acts on celluloid. Hotel Mumbai is one film where the real-life episodes take precedence. And I avow that the outcome is absolutely spellbinding.

The screenwriting (Anthony Maras and John Collee), the dialogue, the cinematography (Nick Remy Matthews), the shootouts, the background score (Volker Bertelmann), the set (Scott Ashenden) and the edit (Peter McNulty) add credence to the enterprise that attempts to portray the carnage.

Hotel Mumbai is a film that is completely performance driven because it's not a rescue thriller, it is subtly-crafted drama meant to celebrate hope and resilience. Special mention to the casting directors here - Ann Fay, Leigh Pickford and Trishaan.

Anupam Kher delivers an exceptionally restraint and mature performance. DevPatel stands out completely. Nazanin Boniadi, Jason Isaacs, Armie Hammer and Tilda Cobham-Hervey translate the panic and agonising fear of those hours through their solid performances.

On the whole, Hotel Mumbai is akin to watching the barbaric act in rawest form. It's a gripping, hauntingly unnerving and emotionally draining watch. It also reminds us of the extraordinary courage of the ordinary people. Do not miss it! Bravo!

Pagalpanti

#FinalVerdict: Awful!

1 Star

Absurdity, illogicality & buffoonery scale new altitudes in TSeries and Panorama Studios' Pagalpanti. Not just your cell phone, even your brain needs to be put on 'switched off' mode at the commencement of this film because Pagalpanti throws logic to the winds. Most of the on-screen characters indulge in buffoonery. There's a conscious effort to pack one joke after another. Yet, the film doesn't work because the writing is ridiculously silly and the jokes are bland/unappealing.

Director Anees Bazmee's fundas are very clear: Ask no questions and abandon all faith in logic, reason and rationale. Only then can you relish the film. Frankly, Pagalpanti is more style than substance. There's no meat in the screenplay. It's an awful, awful film!

Director Anees Bazmee chooses to once again make a film he is most comfortable making and sticks to the staple formula of action, comedy and full-on masala. But Pagalpanti will be rejected by the masses and connoisseurs of cinema alike. Thumbs down!

Three writers (Anees Bazmee, Rajiv Kaul and Praful Parekh) are credited with having worked on the script, and yet all they could come up with is a moronic plot to deliver yet another unmistakably mind-numbing comedy. Pagalpanti is simply unpardonable!

While we viewers have witnessed the most ridiculous films in the recent past, Pagalpanti hits a new low when it comes to writing. The soundtrack (Tanishk Bagchi,Sajid Wajid, Yo Yo Honey Singh and Naeem-Shabbir) is equally monotonous. The sole silver lining is the cinematography (Sunil Patel) and striking locales of London.

In the past, every Anees Bazmee movie had a number of memorable sequences that made you jump with joy but Pagalpanti is not only saddled with a frail plot and powerless screenplay, even his execution is below the mark. It's Anees Bazmee's weakest film so far. While viewing the goings-on, you look at Pagalpanti in disbelief and wonder, is this an Anees Bazmee directed film?

It's an oft-repeated fact that the dialogue is the lifeline of every film. No film can survive on star power. That's another problem with Pagalpanti. Soon after the characters are established, most of the jokes fall flat and fail miserably at evoking mirth. The writing, as mentioned above, is a sore point. One expected more from these talented writers (Anees Bazmee, Rajiv Kaul and Praful Parekh).

From exciting car chases, high-octane destruction scenes to an entire act involving industrial strength glue, nothing works at all, thanks to a weak plot. Also, not all actors can carry off comic roles with flourish. Sadly, this is also the case with Pagalpanti.

There are a lot of characters in Pagalpanti, one sillier than the other. Anil Kapoor plays the flashy gangster with his trademark loudness. Arshad Warsi is the funny guy with witty one-liners. John Abraham exudes charm despite his goofy character. Pulkit Samrat once again plays up on his boyish charm. Ileana D'Cruz, Kriti Kharbanda and Urvashi Rautela are reduced to looking pretty and mouthing silly lines. Saurabh Shukla, Zakir Hussain and Inaamulhaq are impressive.

Be smart, exercise your right to avoid Pagalpanti with all your might. Even with an enviable star cast and heavy-duty action, the film fails in its endeavour because it is more of a chaos than a film. A damp squib which will bore the viewers to death!

Marjaavaan

#FinalVerdict: Fizzer

1 Star

Marjaavaan fails as a film. The only silver lining is the presence of A-list stars & of course, the hype surrounding the film, which might attract footfalls in mass-friendly circuits initially. Hugely disappointing!

The fight between the virtuous & wicked has been the staple diet of several hindi movies since eons. Marjaavaan is a classic case of an exhausting formulaic movie where the protagonist delivers thunderous dialogue & bashes up scoundrels like we swat flies.

I don't even wish to forewarn you about the essence of Marjaavaan, since, I presume, most of you must've guessed it by now thanks to its high octane promos. Unfortunately, it relies on the tried-tested-trusted and done to death recipe from commencement to conclusion. Right from the styling to the hero-villain conflict to death-defying action (Amin Khatib) to fiery dialogue (Milap Milan Zaveri) delivered in high decibels to the love track and the heroism, every single thing of Marjaavaan is reminiscent of the Bollywood of the 1980s. Writer/Director Milap Milan Zaveris sole intent is to provide entertainment to those who relish masala fares. But be forewarned, even if you have an appetite for the masala movies of yore, chances are you will feel suffocated by the on-screen goings-on.

The biggest problem with Marjaavaan is that the premise is archaic & the director (Milap Milan Zaveri) relies too heavily on some skillfully-filmed action sequences & dialogue-baazi to take the story forward. In fact, even the constituents like romance & comedy look forced. Milap Milan Zaveri garnishes the film with features that the masses take pleasure in. The conflict between good & evil is riveting and so is the rapid pacing (editor: Maahir Zaveri) but not with much novelty on platter. The music (Tanishk Bagchi, Meet Bros and Payal Dev) is a mixed bag. Sanjoy Chowdhury's background score is loud, which adds to the massy element.

Marjaavaan is the typical good versus bad saga loaded with every possible ingredient that makes masala films tick. But what unfolds on screen is so routine & monotonous. In massy entertainers, there has to be a hook to keep the viewer's attention arrested. Director Milap Milan Zaveri does nothing, absolutely nothing out of the box or path-breaking in the current scenario to grab your attention, which is why Marjaavaan fails as a film. Action, one of the high points, is slick and cater more to the desi audiences. Milap Milan Zaveri's dialogue have always been mass-friendly and the lines in Marjaavaan are a riot at times. The dialogue will be greeted with whistles and applause from fans of desi masala movies, especially those delivered by Sidharth Malhotra.

Sidharth Malhotra is absolutely at home in this out-to-please-the-junta character avatar. It's the kind of role that the fans take to instantly and he plays to the gallery. Riteish Deshmukh is exemplary. He carries off the unpretentious, sinister streak with brilliance. Tara Sutaria looks dew-fresh & manages to add so much to every sequence she features in. Post Student Of The Year 2, her performance in Marjaavaan is sure to multiply her fan-following. Rakul Preet Singh looks appealing but doesn't get much to do. Shaad Randhawa is top notch. Ravi Kishan is okay. Nassar leaves a mark. Suhasini Mulay is passable. Nora Fatehi is sizzling as always.

All said and done, unless you're a die hard fan of Sidharth Malhotra and you like Tara Sutaria, or your love is literally blind, then maybe you might actually like Marjaavaan. I did not. Once the initial euphoria settles down, it'll be difficult for the film to sustain. It's a tedious watch! Fiasco! 

Motichoor Chaknachoor

#FinalVerdict: Run-of-the-mill!

2 stars

Motichoor Chaknachoor is all pomp & no substance. It's average in merits, providing a few laughs intermittently. Its sustaining power at the box-office is doubtful.

The film has an intriguing first half filled with humour and the antics of Nawazuddin Siddiqui will definitely leave you in splits. But soon disappointment creeps in as Motichoor Chaknachoor's second half falls flat predictably when it comes to humour. It isn't totally captivating. Debutante director Debamitra Biswal Hassan's writing is plain mediocre. Besides, the second hour is lengthy & it gets tedious. Also, the pre-climax and climax don't sweep you off your feet. Unfortunately, what happens in Motichoor Chaknachoor is that you root for a few individualistic sequences only, not the film in entirety. In a nutshell, the movie does appeal, but in bits and spurts. Not in totality. An average experience!

Special mention should be given to dialogue writer Bhupendra Singh who has given some of the best lines to Nawazuddin Siddiqui. However, we wish he could have retained his series of punches even in the second half. The screenplay of Motichoor Chaknachoor is plain average. One misses a meatier script in the second hour.

Interesting concepts don't necessarily translate into interesting films. Motichoor Chaknachoor fizzles as soon as director Debamitra Biswal Hassan establishes the plot, because neither does the comic factor work nor do the melodrama salvage the show. The film has an anti-dowry message also. However, after a point, the writing doesn't spring any surprises. You know exactly what's in store next and that's what bogs it down. What the director delivers in Motichoor Chaknachoor makes you sit motionless for most parts. It fails to invoke wolf whistles or ovation at the right places. As a result, the viewer feels dejected because the drama is devoid of intensity.

Directorially, Debamitra Biswal Hassan's work gets easier thanks to the presence of seasoned actors but she needs to polish her skills as far as technique is concerned. Music is strictly okay. However, the picturisation of songs camouflages the deficiency. Suhas Gujarathi's cinematography is decent.

Now to the performances. Motichoor Chaknachoor solely rides on Nawazuddin Siddiqui's shoulders. And he manages to carry off the role with aplomb despite the fact that he's known for serious cinema. The masses will simply love him in this avatar. Another special mention to Athiya Shetty. From getting the accent spot on to displaying the perfect body language & mannerisms to acing her expressions, she is a revelation to behold. I wish she approves better projects in future. Vibha Chibber, Navni Parihar, Vivek Mishra, Karuna Pandey, Sanjeev Vatsa, Abhishek Rawat, Sapna Sand and Usha Nagar are mere gap fillers but they lend able support.

To sum up, Motichoor Chaknachoor kick-starts with rib-tickling moments but fails to retain the humorous momentum throughout. Choosing an unconventional story is great, but it gets cumbersome to sit through the film after a point. Skip it!

Jhalki

#FinalVerdict: Provocative!

2 stars

Cinegoers have witnessed escapist cinema for years but along side comes a film that makes you think. Jhalki is one such film.

Director Brahmanand S Siingh and co-director Tanvi Jain's interpretation shakes you up completely. Prakash Jha, Kamlesh Kunti Singh, Brahmanand S Siingh and Tanvi Jain's story makes you sit up to the harsh realities of human-trafficking & child-labour. Certain films can really change the way you cogitate about an issue. Jhalki is one such film. Sensitively handled by director Brahmanand S Siingh and co-director Tanvi Jain, Jhalki is a a purposeful film. The story is straight out of newspaper & television headlines. In that respect, the movie would be identified more by an Indian cinegoer. More than anything else, the two directors ought to be complimented for having the courage to make this kind of cinema. A number of scenes in leave you spellbound and the rustic locales only give the film a distinct flavour. In a nutshell, Jhalki will come across as a shocker to those traditional Indian audiences who have grown up on the staple diet of sugar-coated romances & feel-good/sunshine/escapist cinema. You ought to have a strong stomach to absorb a film like Jhalki.

On the flip side, Jhalki caters to a niche audience. The film has an episodic feel to it. It also gets repetitive and lacks the intense moments because it evokes a wide variety of emotions at the same time -- anger, rage, disgust, abhorrence, revulsion and anxiety. Jhalki has the power to win awards. But box-office rewards and a mandate from the aam junta will elude it. The lethargic pacing will also go against it. It is non-committal when it comes to actual movements & its own premise. Also, in a serious, issue-driven film like Jhalki, the scenes of comedy only take away from the seriousness of the narrative. The culmination to the story does not evoke any real emotion within the audience. It also tends to get dry and heavy at regular intervals.

Jhalki boasts of some of the most talented names on and off screen. The performances are truly spellbinding. Divya Dutta, Boman Irani, Sanjay Suri, Tannishtha Chatterjee, Joy Sengupta and Govind Namdev succeed in making the proceedings life-like. Aarti Jha walks away with the glory, delivering one of the finest performances the Indian screen has seen from a child actor. All in all, an award winning act! Goraksha Sakpal leaves a lasting impression. The child actor manages to register a strong impact.

On the whole, Jhalki will cater to the connoisseur of qualitative cinema. The two directors will win praise but the film's appeal will be restricted to the elite at select multiplexes. Awards yes, box-office rewards no!

Satellite Shankar

#FinalVerdict: Overenthusiastic!

1 star

Writer/director Irfan Kamal may've borrowed real life events but Satellite Shankar is a typical Bollywood enterprise which ends up being a masala film that we've witnessed over & over again.

First things first! The story is different, something that hasn't been attempted before and Satellite Shankar has a strong message to offer. The intentions of writer/director Irfan Kamal need to be applauded! It moves you in parts.

So, does Satellite Shankar strike a chord? Not really. In fact, a little more concentration on that vital aspect called 'script' and it would've been in a class of its own. Just one word for this film: Disappointing! It just doesn't work.

DoP Jitan Harmeet Singh has done a splendid job in capturing the scenic locales. Frankly, the music (Rochak Kohli, Mithoon &  Tanishk Bagchi) is weak and the songs that have been incorporated, don't appeal. Director Irfan Kamal's handling of the subject deserves credit but the problem clearly lies in the scripting. He should've stuck to realism, instead of trying to strike a balance between realism & make-believe. There is really very little logic at play here. Also, there is an underlying theme of patriotism but the very low production values & weak narrative (resorting to every cliche and generalisation possible) make Satellite Shankar dated. Even the dialogue (Irfan Kamal & Vishal Vijay Kumar), like the screenplay writing, is pathetic.

Sooraj Pancholi tries very hard to look the character, but I just couldn't connect with it. Debutante Megha Akash has put in a lot of effort to stay true to her character. Palomi Ghosh delivers a striking performance. Upendra Limaye, Raj Arjun, Sanjay Gurbaxani & Sohaila Kapur leave a mark in small, but significant roles.

Honestly, Satellite Shankar comes across as a disjointed effort, in terms of writing. It is more of a collage of several isolated incidents, which explains why the screenplay lacks the power to keep you engaged. Sure, a few sequences are attention grabbing, but even the finale is poorly done. Skip it! It's a non-starter!

Bypass Road

#FinalVerdict: Tawdry!

2 stars

Bypass Road had the potential to be an exciting fare but first-time director Naman Nitin Mukesh fails to inject that edge-of-the-seat excitement, making it a long and tedious affair.

An interesting thought may not necessarily translate into an interesting screenplay. Bypass Road is a prime example of this statement. It is akin to a bottle of soda, which starts off with zest but the fizz settles down faster than expected. Bypass Road is loosely scripted & full of inconsistencies. It may have an interesting premise as its starting point, but the writer (Neil Nitin Mukesh) fails to flesh out a foolproof screenplay and doesn’t even stay true to the film’s own absurd logic. The film had great potential to be a riveting thriller but halfway through, you realize that the writer & director (Naman Nitin Mukesh) have run out of ideas. Bypass Road is one jigsaw puzzle that remains unsolved even after its culmination. Come to think of it, your imagination can run wild with a premise like the one in Bypass Road. But it runs out of fuel midway. In a nutshell, Bypass Road promises the moon, but what you eventually get in return is merely a mirage. A damp squib!

Specifically, the screenplay (Neil Nitin Mukesh) should've packed some great moments, but the writer seems to take an easy way out. The story is a chaotic mess & for no reason, it takes a non-linear route complicating even the simplest of things. Director Naman Nitin Mukesh has an eye for visuals but he couldn't do much since he's saddled with a poor script. The cinematography (Fasahat Khan), too, neither heightens the drama nor does it add any thrill. Music is the sole saving grace.

Neil Nitin Mukesh showed great promise as an actor and you only expect him to climb the ladder in his next releases. Adah Sharma is alright. Gul Panag & Shama Sikander add to the glamour quotient. Sudhanshu Pandey, Rajit Kapur, Taher Shabbir & Manish Chaudhari enact their parts with confidence but they have nothing substantial to portray.

To sum up, Bypass Road is a huge let-down. An apt case of body beautiful, minus soul! Flop!

Bala

#FinalVerdict: Bald and beautiful!

3 stars

Producers Dinesh Vijan's Maddock Films & Jio Studios' Bala is about inherent beauty where any physical flaw seems immaterial if one has the heart to identify real beauty. It is surely not-to-be-missed! Brilliant!

Bala works so well because it takes its subjects seriously enough to also be able to gently laugh at them. So all of the characters are played with a heartwarming sincerity that makes them genuinely likeable & relatable. There are very few times when one gets to laugh, cry & experience other emotions as the tale unfolds onscreen. Director Amar Kaushik has achieved that in this bittersweet comedy. Double thumbs up for him! The people & the settings are real which makes the message of Bala even more relatable.

Niren Bhatt's story has apt & simple ingredients which makes for an impressive tale. Dialogues, also by Niren Bhatt, ensure one feels with the characters. The film Bala laughs with, rather than mocking those who are unluckily rated low because of their appearance. What transports Bala into an exemplary film are the wonderfully light touches with which director Amar Kaushik unpacks the story. It also benefits from perfect & gimmick-free cinematography (Anuj Rakesh Dhawan) and instantly likeable BGM/soundtrack (Sachin-Jigar). Bala has been shot beautifully and the terrific background score supplement the tale. Director Amar Kaushik has ensured that Bala never seems made up. His direction is terrific.

Ayushmann Khurrana knows how to crack the code of the right script every time. Flawless act! Bhumi Pednekar makes sure her issues & predicaments seem relatable & she plays the part with consummate grace. Yami Gautam portrays her part with elan & she is a delight to watch as a girl obsessed with constantly looking good. Abhishek Banerjee is simply outstanding. Jaaved Jaaferi's comic timing is impeccable. Saurabh Shukla and Seema Pahwa's appearance, mannerisms & dialogue delivery are exemplary.

On the whole, Bala is brimming with solid content with a relevant message. Watch it for the heartfelt spirit it is made in. Bala will be Ayushmann Khurrana's 7th consecutive success in a row. Super-hit!