(According to Dinesh Middal Happy Bhag Jayegi is a 3 star movie)

we smile in the beginning. spirited amritsar kudi happy’s (diana penty) heart beats for guddu (ali fazal) but the path of true love is strewn with stern fathers (kanwaljeet), local bad boy rival bagga (jimmy shergill) and an accidental pakistani gentleman named bilal ahmed (abhay deol). but all too soon, the pleasures of the film dwindle, and we are left to fend for ourselves, looking for something that will make us laugh, even if it is weak laughter. there is some of it, but it is far too intermittent.
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(According to Dinesh Middal Mohenjo Daro is a 5 star movie)

mohenjo daro movie cast: hrithik roshan, pooja hegde, kabir bedi, arunoday singh, nitish bardwaj, manish chaudhary mohenjo daro movie director: ashutosh gowariker if you had to recreate an ancient civilisation, what would you do? if you are ashutosh gowariker, and have had lots of experience in excavating the past (lagaan, jodhaa akbar), you would scale it up. instead of a few hundred years, you would go back a couple of thousands, ditching the merely old for the seriously antique. mohenjo daro, set in mohenjo-daro of the indus valley civilisation, is bigger but certainly not better than these two gowariker’s earlier outings. the sepia tone of the earth and the dwellings is balanced by an array of costumery: everyone looks like they have been handed out unstructured earth-toned garments, which follow the latest fashion du jour. and lest you thought they were not accessorised to the hilt in 2016 bc, perish it: the villainous chief wears a headgear of horns (the happily hamming kabir bedi, who carries it off with a raffish air) to an alarmingly tall crown of what looks like feathers, coins and shells sported by the leading lady (the debutant pooja hegde, who looks much better without, and may fare better in her next).,
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(According to Dinesh Middal Star Trek Beyond is a 4 star movie)

there's a precedent for this sort of thing. where all of the tv incarnations of "star trek" were mainly about morality and philosophy, with characterization serving as a means of examining those dramatic values, most of the big-screen film versions, including the '80s and '90s versions of the flagship tv show, were mainly concerned with the heroes' personalities. the screenplays gave us detailed examinations of, say, the relationship between kirk and his half-vulcan first officer mr. spock, between kirk and the united federation of planets, between kirk and the klingons who tormented his civilization and killed his only son, and between all the characters (kirk especially) and the prospect of aging and death. it was more soap opera than space opera at times, but always fun to watch, sometimes moving. .
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(According to Dinesh Middal Suicide Squad is a 5 star movie)

if i had to describe 'man of steel' and 'batman v superman' with one word only, it would be "divisive." suicide squad falls into the same category. even though i liked both mos and bvs, one could say that those 2 films tried too hard to please critics. the admirable thing about suicide squad is that it disregards the critics altogether, and makes it an entirely fan experience, for better or worse depending on who you ask. the audience i saw it with was electrifying; it's, without a doubt, the most fun i've had all year since 'deadpool' back in february. in my humble opinion, suicide squad is exactly what this lackluster summer movie season needed to spice things up. director david ayer has his mark all over this; it's unlike any superhero movie i've ever seen. sure, you have some of your typical superhero tropes, mostly in the 3rd act. but then you have the antithesis of what the genre entails, breaking just about every single rule and convention. this ain't good versus bad; this, my friends, is bad versus evil. this movie is the living personification of its own characters: absolute, bat **** insanity! it's uneven, character motivations get a little wonky, and the story is a hot, sexy, mess. word of advice? double down on the comicbookiness of it all; it gets pretty weird. but within all the madness, i couldn't help myself guys... i kind of loved this movie. it's by no means perfect, but i also feel like critics are over exaggerating the film's faults. i was never bored, not once. the film moves at a killer pace. there's quite a bit of exposition near the beginning, but after that the film kicks into high gear. steven prince's score, which was reminiscent of 'pacific rim' and the first 'iron man,' infused such infectious energy into the movie. the use of hit song after hit song got a bit overwhelming however, making the movie feel more like a music video at times. filmed mostly in my home of toronto, this was quite the surreal experience; i have walked through those streets before, and i have stood in those subway stations before. i was even an extra in the film. did i make the cut? well, that's a whole other story... but i ain't mad. i was genuinely shocked by how incredible will smith was in the role of deadshot. going in, i thought he'd be adequate but not too memorable. i was wrong; he is the best thing this movie has going for it. scratch that. he comes real close to taking that title, but it's margot robbie as harley quinn that this movie will be long remembered for. she nails it. absolutely nails it. robbie is to harley quinn what rdj is to tony stark: perfection..
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(According to Dinesh Middal Ice Age: Collision Course is a 5 star movie)

parents need to know that ice age: collision course is the fifth installment in the popular prehistoric-themed ice age franchise. it's not necessary for viewers to have seen all of the former films to understand the plot line, but it does help. the violence/peril is less intense than in previous installments but does feature serious natural catastrophes -- like a fiery asteroid headed for earth (and destructive meteors) -- as well as egg-stealing birds bent on destruction. you can also expect a little bit of insult language ("turd," "stupid"), as well as mildly suggestive comments about "parts retracting" and hotness. the coupled-off characters also embrace or kiss very briefly. as always, the messages revolve around teamwork and the unconditional love/acceptance of the right "herd." .
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(According to Dinesh Middal Sultan is a 4 star movie)

somewhere in the second half of the ali abbas zafar film randeep hooda, who plays the coach of wrestler sultan (salman khan) says of him: “jat hai na asli (isn’t he a true blue jat)”. i was immensely amused by the unwitting irony embedded in the line. that a real off-screen jat should be giving brownie points to an eminently faux on-screen one sporting a laboured, indistinct haryanvi accent that flits in and out of his mouth at its own sweet will and discretion. not that my observation matters. even the haryanvis amongst his die-hard fans will cross swords with me for making that disapproving comment. but then sultan (or for that matter any other bhai film) has to be seen as independently of his crazy fans and their riotous reactions at galaxy as of his infamous “rape” remarks. so let me stick my neck out and say that the haryanvi and the haryana in the film are cringingly the artificial divide of the interval renders the film into two distinct, disjointed halves. the first one refuses to come alive what with the forced humour, the in your face starry moments — like the one of sultan taking a tractor out of a pit, running past a train and also the overt, practised cuteness of a country bumpkin eventually winning over his hard to please girl. but these cribs apart the film does try and aim to do a lot of things other than presenting the colour coordinated, long, choreographed bouts of wrestling (in which tractors are given away for gifts) for our pleasure. take the gender angle for instance. in spite of being a bhai film it showcases the woman’s cause — pm’s beti bachao abhiyan in the backdrop of haryana, infamous for female foeticide and a lopsided sex ratio. what could be nicer? there are posters upon posters plastered on the walls of the village homes — “yahi vachan hai sabse achcha, rahe surakshit jachha bachha (the best vow is that mother and new born should both remain safe)” or “ghar mein shauchalaya banwayein, bahu beti baahar na jaayein (build toilets at home so that women don’t have to venture out)”. there is aarfa, a woman wrestler for a heroine. but for every step forward in breaking the stereotypes there is the curiously disconcerting comfort of the status quo. that odd line that is thrown in about aarfa’s father having brought her up “like a boy”. she gets a stamp of approval for being baahar se modern par andar se desi (rani lakshmibai if you may please). and that age-old clich� gets reinforced that a woman has to be a man’s muse, there has to be a woman behind every successful man (in this case she is made to feel the guilt for dissing him too, to eventually come around to marrying him). we are made to feel good implicitly that her husband allows her to carry on with sports after marriage. and when it comes to the biggest dilemma — child or career — she makes the expected choice.irritating. as is the accented english of the in-film aaj tak reporter (the willing suspension of disbelief be damned). just a month back there was the much reviled laal rang, starring hooda that got the rough and rustic lingo and earthy humour spot on. here the accent itself becomes a joke. a juvenile, inane one at that. saying “yo sai (it is)”, sory for sorry and test for taste doesn’t make things authentically haryanvi but wildly witty for the fans it seems. however, i still can’t fathom what was so funny about the chyawanprash, “baby ko bass pasand hai” and “sit (shit) boy” jokes?.
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(According to Dinesh Middal Madaari is a 5 star movie)

the film is influenced by a reality occurrence, which has happened a number of years earlier at city link located at andheri– kulra roadway in the suburb of marol in mumbai, while it was seen under construction. the trailer launched in the recent simply outstanding in several methods. we have actually seen irrfan khan in various characters not just in b town movies however likewise in hollywood also. it is irrfan khan that is seen impressive in the trailer not simply governing the entire system and testing it however at the same time giving his best of the performance at cinema this time around. in madari, he plays a male that is implicated of obtaining abducted the kid of home priest just due to the fact that he finds this male responsible for the mishap at the andheri kulra road in bombay. jimmy holds the cap of a leading police officer that leaves no stone unturned to snatch this man. though he likewise seems great yet delayed behind in lots of ways from irrfan in regards to style as well as efficiency. in the villain role, irrfan khan will certainly be seen in a various character that has his own design of looking for justice for his dead child, he shows up dazzling. after that you have a residence minister played by tushar dalvi, who appears fine once more with the personality of a leading and powerful preacher of the state.
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(According to Dinesh Middal Dishoom is a 5 star movie)

dishoom starts off with a well-planned kidnapping of indian cricket team's ace cricketer viraj sharma (saqib salim) by the dreaded altaf (rahul dev), at the behest of wagah (akshaye khanna) during a cricket series in the middle east. the reason for wagah to kidnap viraj sharma is to bail himself out of the rs. 400 crore worth of debts that he has got himself into because of his match fixing deals going south. when the indian government gets to know that viraj sharma has been kidnapped and that too, just 36 hours before the crucial and the much awaited india-pakistan match, they decide to put their best police officer kabir shergill (john abraham) on the job. fearing national unrest and tension, they instruct kabir shergill not to utter a word to anyone about viraj sharma's kidnapping. when the news reaches the embassy of the middle east, they immediately become ready to offer all kind of possible help to kabir shergill. that's when kabir shergill chooses the 'never-solved-any-case' police officer junaid (varun dhawan), who is only way too happy to be chosen for the task of finding viraj sharma. what happens after that are a series of twists and turns, oodles of roller coaster ride and adventure tales of kabir and junaid and their parter in crime ishika (jacqueline fernandez) who is a petty thief. will kabir shergill be able to trace out viraj sharma before the india-pakistan match, what role does junaid play in tracing of viraj sharma and whose side is ishika on and will she be of any help towards solving the mystery behind the kidnapping of india's key player is what forms the rest of the film. first things first. dishoom's script (rohit dhawan, tushar hiranandani) is predictable, however the chemistry between the actors, especially during the comic scenes make for an entertaining watch. as for the film's direction, rohit dhawan (whose last film was the john abraham-akshay kumar starrer desi boyz), has handled the entire proceedings of dishoom with extreme ��lan, style and panache. his efforts in mounting the film on such a large canvas pays off rich dividends. while rohit dhawan has ensured that the film's first half is crispy and tight, it's the film's second half that starts lagging midway, which, then, gets overshadowed by the breath taking action sequences. with dishoom, rohit dhawan proves his ability to handle big scale and glossy production with utmost comfort and ease. though the film takes many creative liberties and some moments in the film don't seem justified, it doesn't fail to entertain. as for the performances, the film rides essentially on the shoulders of the two men, viz., john abraham and varun dhawan. john abraham handles his character of being a no-nonsense tough guy with perfection. he is surely one of the best action heroes in the business. on the other hand, with every passing film, varun dhawan is slowly inching towards being a 'complete performer'. while varun dhawan exhibited his serious side in badlapur, dishoom sees varun dhawan in a rather cute and comical avatar. the ease with which varun dhawan executes the comic scenes is extremely adorable and praiseworthy. overall, varun dhawan excels in playing his character in the film with utmost conviction and confidence. jacqueline fernandez brings in the glamour quotient to the film and acts her part very well. it won't be wrong to say that dishoom sees jacqueline fernandez's exceptional improvement as an actress. amidst everyone, dishoom also sees the big eturn of the seasoned actor akshaye khanna, who announces his comeback in bollywood with a bang with this film. his sense of timing and dialogue delivery adds more glitter to the character that he plays in the film. akshay kumar, despite being cast in a cameo, is hilarious in his part of a gay bad boy. saqib salim is effective. the rest of the cast help the film in moving forward. the film also sees cameos by nargis fakhri, parineeti chopra and cricketers like javed miandad, mohinder amarnath and atul wasan. movie very super hit.
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