Race 3 Free Download

The Race franchise is known for its excessively stylized characters and high-octane action. These films showcase expensive cars and fancy set pieces, they have everything to please the action movie buff and James Bond fans. �Race 3� puts the pedal to the metal when it comes to making stylish statements. But as it zooms ahead in style, the substance is left behind in a cloud of dust.

This film is about a rich family dealing with a lot of double-crossing and scheming, as you�d expect from a film of this franchise. The Singh family is executing a high stake heist, where they have to steal a hard disk from a bank, so the setup looks like it's going to have a lot of thrills and action. But the generous dose of action never translates into any serious thrills because the story is so flimsy. To say that the film has a wafer-thin plot is an understatement. Unlike the action, the script lacks any real punch as the story does not engage the viewer at all. Trailer of the film had sparked off a bevy of memes on social media and when you watch the film you realize there are more such dialogues like, �Our business is our business, none of your business� and that makes you wonder what the writers were thinking.


What redeems the tissue-thin plot is the larger-than-life action sequences. You have it all - car crashes, explosions, combats, cat-fights and wingsuit diving stunts. Yes, there's a lot of smoke and fire, but no real steam - in the story or the performances. Most of the action scenes are in slo-mo, meant to heighten the drama and thrill obviously, but it often ends up making the scene a tedious watch. The best-directed parts of the film are the songs, which look like elaborately designed music videos. The movie is mounted on a lavish canvas and shot on some beautiful locales, but none of that holds your attention for more than a few minutes. It�s a visual delight to see a range of supercars in action, glamorous girls throwing kicks and punches, and of course, fans will relish the sight of Salman Khan and Bobby Deol ripping their shirts off to flaunt their well-greased and chiseled bodies.

There�s a star-studded cast on offer so the fans will have plenty of moments to cheer for their favorite stars. Salman Khan leads the pack with the main role, and while he�s great with the action and the style, the character has very little depth. Anil Kapoor plays the father figure of the Singh family with ease. Bobby Deol and Daisy Shah are at their stylish best, too. Jacqueline Fernandez and Saqib Saleem look fantastic as well. �Race 3� will work for Salman fans the most, as bhai kicks and punches with gusto. 

But for all its big moments, �Race 3� just does not work up the feeling of suspense and intrigue that made the previous masala movies from the franchise a guilty pleasure. While the film wants to keep you guessing on who will finish the Race first, you are left wondering when you will cross the finish line.

Incredibles 2 free download

The most irritating thing about Scooby Doo - and it happened in every episode - was when Fred, shamelessly desperate for some alone time with Daphne, would say the words, �Let�s split up, gang.�

As a child, no cartoon on TV was as thrilling as Scooby Doo, and no cast of characters as fun to be around as Shaggy, Scooby, Velma, Daphne and that party pooper Fred - so separating the team felt almost cruel. Without exception, every ghost, ghoul and masked madman they encountered was because they weren�t together. So it made no sense that they kept doing it. In every. Single. Episode.

It was with mild trauma then with which I reacted to the moment when Incredibles 2, Pixar�s 14 years in the making superhero sequel, decided to split up Mr Incredible and Elastigirl for most of the film�s duration, and in a neat subversion of movie tropes, gave Elastigirl all the action and relegated Mr Incredible to a life of domesticity.

Of course, it makes narrative sense to divide characters into different groups - it�s always easier to write two scenes for two characters each instead of writing one for four. The greatest example of this screenwriting hack came not two months ago, when Marvel somehow found an effective way to give two dozen characters their due respect in Avengers: Infinity War.Fortunately for Incredibles 2, it isn�t burdened with an overflowing line-up of characters to serve. The four it has a duty to honour, however, it does with the tremendous confidence and care typical of Pixar�s films.

It picks up a few months after the events of the first film, as the Parr family - Bob, Helen, Violet, Dash and Jack-Jack - continues to fight crime, disguised as their superhero alter-egos. The film opens with one of its many stunningly staged action set pieces, which ends with the Incredibles failing to stop an attempted bank robbery. With little to show for all the damage their actions have done, the Incredibles are left with no choice but to accept the government�s ban on all �supers�. But just when things seem to be at their lowest, a saviour - or two - arrives.Winston and Evelyn Deavor are the rich children of a famous tycoon who was one of the biggest supporters of superheroes before he died. This fandom, this blind trust in �supers� has seemingly transferred onto Winston and Evelyn, who inform the Incredibles that all they need is a PR makeover to turn their fortunes around. All we see about them, they say, is what the news shows us - which is the mass destruction and rampant chaos they leave in their wake. The public doesn�t see the risk the superheroes take every time they fight a lunatic villain. If they were to revamp their image, the Deavors assure them, the public will learn to love superheroes again, just like their father did.

That, in a nutshell, is the film�s premise, which to me sounds an awful lot like the plot of the 2008 Will Smith superhero movie Hancock, of all things, and validates my long-held belief that Hancock is an underrated classic.

The thing about Pixar movies - more specifically their increasingly frequent sequels - is that each film feels almost independent of the series� larger arc. These movies are self-contained experiences, with their own three acts and their own individual identities. I suspect this need arises from the fact that it takes really long to make an animated film - especially at Pixar, a studio whose terrific track record and attention to detail speaks for itself. There is also a very real chance of the film�s original audience having grown up in the five or so years it takes to make a sequel. In essence, Pixar has to attract a new audience for every film. Of course, the interim years also make it possible for new generations to discover these characters - and it�s equally possible that teenagers who watched the first Incredibles movie in 2004 have their own kids now.Nothing you will see in Incredibles 2 carries the same - or even a fraction of - the emotional depth of something like, say, a Toy Story 3. But such is the high bar that Pixar have set for themselves. Anything that seems less than exceptional seems like a disappointment. But as the studio enters a phase that seemed impossible even five years ago - a phase in which they�re churning out more sequels than originals - it�s concerning.

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Kids of a certain age will not mind the serviceable story of Incredibles 2. The film is vibrant to look at (it retains that suave �60s style), the characters are just as warm as ever (Edna Mode, who I�ve always felt was a fairly accurate combination of Anna Wintour and Karan Johar, continues to steal scenes), and director Brad Bird�s natural talent for staging large-scale action is often on display (he really was the perfect choice to make a Mission: Impossible film, wasn�t he?). But in an age when we�ve honestly consumed an unhealthy amount of superhero films - most of them dark and brooding - all this might feel a little too simplistic for the grown-ups.

There�s a lesson in there about apathy and idealism, valuable because it comes at a time when doing nothing doesn�t seem like a valid option anymore - the Incredibles are, and don�t you forget it, people who do good simply because it is the right thing to do. They�re driven by nothing other than the desire to serve, to protect, to empower. And we need earnestness like this now, more than ever before.

Babumoshai Bandookbaaz

LOVE, BETRAYAL AND TWO SMOKING BARRELS

Story: Babu Bihari (Nawazuddin) and Banke Bihari (Jatin) are both contract killers in Uttar Pradesh, who often get paid to bump off the same game. At one point, they get their lines crossed and end up fighting each other as well.

Review: Be warned, this one belongs to the Gangs of Wasseypur genre where everyone is trigger-happy. Babu has been killing since the age of 10 when he first went hungry; Banke who admires Babu has always dreamt of being a professional killer. Banke�s girl Yasmeen (Shraddha) dances to Bollywood remixes and brings him contracts; Babu�s girl, Phulwa (Bidita) orders him to kill for her. So bullets fly thick and fast. Incidentally in the centre of the drama are Sumitra (Divya) and Dubey (Anil), politicians who are happy to hire these gun-toting goons for their own gains.Joining in the games are the local police, who also have their own axe to grind. But bullets are not the only thing the men in this movie bite. They also have voracious sexual appetites and relish their women.

Babu�s life lights up whenever he is with Phulwa and Banke has a thing going with Yasmeen. However, when Banke meets Phulwa, he finds himself attracted to her too.
If you have feasted on cinema noir, this one serves up no surprises. The screenplay could have definitely been tighter. Yet Kushan Nandy gives you a film that you find yourself compulsively watching. Ghalib Asad Bhopali has got the goon-dictionary pat and his lines add grit to proceedings.

Nawazuddin�s self-deprecating remarks and his seamless transformation from killer to lover is applause-worthy. Jatin Goswami�s impresses; his lean frame and interesting voice lend to his screen appeal. Bidita is an interesting find for Bollywood. Not only does she smooch and seduce with a raw intensity, she wins brownie points for a couple of emotional scenes as well. Shraddha is tailor-made as the curly-haired nautch girl and kicks up a storm when she grooves to Hai re Hai mera ghunghta. Divya as the local behenji, who eats scented paan and spits fire is effective.

guest iin london

Cast: Kartik Aaryan, Paresh Rawal, Tanvi Azmi, Kriti Kharbanda, Sanjay Mishra
Director: Ashwni Dhir
Rating: 1 Star (Out of 5)

Has a guest ever been so utterly unwelcome? Guest In London, director Ashwni Dhir's follow-up to the 2010 sleeper hit Atithi Tum Kab Jaoge? is unalloyed trash. An insufferably insipid film that seeks to make up for its lack of genuine hilarity with some misplaced emotional sleights in the climax, it does leave you in tears, but most definitely not for the intended reasons.

Apart from being a painful travesty of a film, Guest In London is both offensively sexist and racist. Its makers believe that it is perfectly in order to suggest that a woman's only goal in life should be to get married, bear and raise children, cook in the kitchen, and do the housework. Just as appalling are the slurs that the characters hurl at people for the way they look and for the color of their skin. A woman who is asked to babysit a black child goes into paroxysms of horror on seeing the boy's skin color. You would be 'Gora' if only your mother gave you a proper maalish (massage), she says and goes to work on the kid. A neighbor calls the police and she is threatened with arrest. She obviously deserves much worse.

In another scene, a Chinese girl is sexually harassed by her boss at a bash. The avuncular principal character steps in and protests volubly. I won't let this happen, he yells. He then says something that stinks: Issei ladki ki izzat kharab hoti hai. Iski toh jaldi kharaab hogi, yeh toh China ki hai, or something to that effect. These lines are meant to be funny. You now know abominable insensitive this goddam Guest In London is.

The film is supposed to be about a sham marriage, a software engineer (Kartik Aaryan) whose UK visa is about to expire, a woman cabbie (Kriti Kharbanda) who has had a hard life, sleeps in her taxi, and is in dire need of quick cash, and an old Punjabi couple (Paresh Rawal and Tanvi Azmi) who land up in London looking for a home to shack up in.

Thrown into the mix is a Pakistani expatriate (Sanjay Mishra), who lives next door to the young man who is worried stiff that he'd be deported if he does not quickly find a UK citizen to marry. The 'homeless' cabbie comes in handy but for a price - 7000 pounds, to be precise. The Pakistani is around only so that the Indians can crack silly jokes about his country and its people: all in poor taste and aimed solely at playing up prejudices.
The film's interminable fart jokes are not as distasteful as they are asinine. They even give way to a purported piece of poetry that, like the film, is pure poop. Guest In London is so utterly clueless about what it wants to be - a laugh riot, a dramedy or a plain old rom-com - that its four principal characters eventually end up at 9/11 Ground Zero, where Ajay Devgn (the lead actor of Atithi Tum Kab Jaoge?) puts in a fleeting cameo designed to tug at the heartstrings.Sadly, Guest In London is the kind of film that demands that you leave not only your brains but also your hearts, home. It appears to have been made by people high on the Patiala pegs that receive a mention on several occasions during the mayhem. Guest In London rests on the Punjabi stereotypes of robust, hard-drinking, glib-talking men who love to live it up until matters turn truly serious.

Two actors who are hard done by are Paresh Rawal and Sanjay Mishra. Rawal is completely out of synch with the character of the over-zealous and unwanted Punjabi visitor. He gets absolutely nothing right: neither the body language nor the lingo, slipping in and out of his character's Punjabi diction at will. If not as out his depth as Rawal, Mishra, too, is reduced to a buffoon, a butt of ridicule.

The lead pair is as off-key as the rest of the film, laboring to pump up the energy levels without much success. The sole redeeming aspect of this film is the presence of Tanvi Azmi - she smiles her way through the mess without letting it affect her poise. But what can one Tanvi Azmi saddle with a sketchy role do to salvage a film that has no interest in being salvaged? Yes, let us leave it that: Guest In London is beyond redemption. It is an excruciatingly painful, abjectly misshapen creature that stomps about absolutely aimlessly. Do not let it get anywhere near your weekend plans, especially if you happen to be a fan of Paresh Rawal's comic timing. It is conspicuous by its absence in Guest In London.

shubh mangal savdhan

Story: �Shubh Mangal Saavdhan� is a remake of the Tamil film �Kalyana Samayal Saadham� made in 2013. The story revolves around Mudit Sharma (Ayushmann Khurrana) and Sugandha (Bhumi Pednekar) who fall in love and plan to get married. But the twist in the tale comes when the groom discovers that he suffers from erectile dysfunction.

Review: Is it possible to create a Hindi film around the 'touchy' subject of erectile dysfunction without being downright crass about it? Turns out that it is, and quite a funny one at that. This is because the lead pair has an affable chemistry between them - an absolutely essential element when dealing with such a private 'Gents problem' (as the film calls it). The whole premise would fall flat without them playing so well off of each other. Ayushmann and Bhumi are able to recreate the magic of being together on-screen, even if their characters aren�t exactly new or challenging to either actor. But it works, so there�s no need to fix it. Additionally, they�re surrounded by a group of talented supporting actors who blend in seamlessly without being too overbearing. This makes the comedy work exactly how and when it�s meant to without stopping to raunchy humor. However, Seema Pahwa deserves a special mention. She has nailed down the traditionally modern mother in the recent past (as seen in 'Bareilly Ki Barfi'), and can clearly continue to make her career based on that oxymoron. There's a scene where she tries to teach her grown-up daughter Sugandha about the birds and bees by drawing comparisons to a popular Arabian folk tale. It works on multiple levels by being hilarious and heartwarming at the same time, as we see a mother making an honest and uncomfortable attempt to give her daughter a crash course in sex-ed � albeit a little too late. This scene itself shows writer-director R.S. Prasanna's ability to balance comedy with sincerity, and the film works largely because of this.

But, much like Mudit's character, the film is unable to perform when it matters the most - the climax. For some reason, the screenplay resorts to an unconvincing turning point towards the end, followed by a few more absurd sequences, including a seemingly forced cameo before going flat out overboard. It's quite the disappointment, and while that doesn't negate the undeniable effort put in by the cast, it makes you wonder why the narrative suddenly went limp. That aside, 'Shubh Mangal Saavdhan' keeps you entertained long enough to make it worth a watch.

sanju movie

Sanju movie cast: Ranbir Kapoor, Paresh Rawal, Vicky Kaushal, Dia Mirza, Jim Sarbh, Manisha Koirala, Anushka Sharma, Sonam Kapoor, Boman Irani
Sanju movie director: Rajkumar Hirani
Sanju movie ratings: 2.5 stars

In Sanju, we get the story of one of Bollywood�s eternal bad boys, Sanjay Dutt. Well, some of it, at any rate.

From what we know of Dutt�s story, pieced together from lurid detail after lurid detail via gossip rags, news reports and biographies, it has been infinitely more surreal and bizarre than anything anyone could imagine. That, sooner or later, Dutt�s eye-popping oh-my-god-that-can�t-be-true, psychedelic life would be the subject of a film is a no-brainer, because who can resist the lure of bad boys, fast lanes, and the glamour of the film world, glittery and sordid, at the same time?

The challenge was always going to be: how does a mere film encapsulate this mega-filmi, outsize life, which is still on-going?

So far, so meta.

Rajkumar Hirani does the only thing he can. By making Sanjay Dutt, Sanju. By choosing to show us a child-man, full of insecurities and flaws. By making the film much more about an errant son and a loving, forgiving father, than a king-size, get-outta-my-way superstar �johar fikr ko due in main update chaala Gaya�. And yes, by giving that errant son a chance of redemption, because it wouldn�t be a Rajkumar Hirani film otherwise.

Make no mistake, this film is about proving that bad boys are not intrinsically bad; the poor things are led down the path of evil by others. While Sanju doesn�t shy away from touching upon Sanjay Dutt�s involvement with the Bombay blasts and doesn�t draw back from showing him consorting with assorted dodgy characters with their links to the underworld, it does these things lightly, forgivingly, with a laugh and a wink.


Yes, the film says, as did the real-life star, he made a mistake, but it was unwitting; he didn�t understand the gravity of his actions. Yes, he did stash a machine-gun in his house, but he did it only because he wanted to keep his family safe. Yes, he did all that, and look, look, he went to jail for it, where he had to suffer overflowing toilets, and airless cells, and hard floors.

Sanju is a dialed-down version of real-life hellraiser Sanjay Dutt
Basically, Sanju is a dialed-down, tamer version of the real-life hellraiser that used to be Sanjay Dutt, who at one point was so over-taken by drugs that he begged his father, the respected thespian and parliamentarian Sunil Dutt to save him. Sanju gives us a Sanjay mediated by the trademark sunniness of the director�s world-view in which even the most unlikely �munnabhais� (there�s a Munnabhai MBBS reference in here too, which is meta piling upon meta: a star playing a star playing a much-loved character played by that star) overcome all odds and become heroes. This Sanju Baba feels like an updated version of Munna Bhai, or was Munna Bhai an anticipatory version of Sanju? Both bad boys with great, supportive fathers and a �jaadu-ki-jhappi� which pulled them out of the abyss�: sometimes it�s hard to know which is which.

Once you�ve made your peace with the Sanjay we get, and there was no way of getting any other in a Hirani movie, you can sit down and enjoy the film. I had a blast all the way till the half-way mark. Ranbir Kapoor is wholly believable as Sanjay-Sanju, channeling not just his (Dutt�s) distinctive body language and �lehja�, but his internal confusion. Paresh Rawal, playing Sunil Dutt with exemplary restraint, matches Kapoor step for step, even striding ahead in places. Manisha Koirala, as Nargis, makes you wish there was more of her. Jim Sarbh, as the guy-with-the-bad-influence, is very fine and dandy, and Vicky Kaushal as Sanju�s faithful New York-based Gujju friend who teaches him life lessons is absolutely terrific. And Hirani is in top form, getting all his reel characters to riff off the real characters, in the pursuit of a solid, entertaining tale.


Post-interval, Ranbir Kapoor�s Sanju slides distinctly

Post-interval, the film slides distinctly. It builds too many episodes in its zeal to prove the child-like aspect of its bad-boy hero, the pace slackens, and we get more time to notice its contrivances. The attempt to paint �The Media In Search Of A Racy Headline� as the real bad boy becomes tiresome after a point, going to the extent of suggesting that a �fake news report� may have been responsible for his incarceration.

Also read | Sanju movie review and release highlights: Celebrities laud the Sanjay Dutt biopic

While the degree of Dutt�s culpability remains debatable, choosing a side is fully the film�s and the filmmaker�s prerogative. Through Hirani and Abhijat Joshi�s astute writing, Kapoor builds up the Dutt persona beautifully in the first half, smartly choosing to pick up some of Dutt�s signature moves and mixing it up with his own delivery. The pressure to be good, to be a star, to be in the top�is all there up until the interval. But then the film turns far too kind towards its bad boy and starts making excuses for his irresponsible behavior, nudging us to feel sorry for him. That may have been the intention, but Sanju becomes less interesting from that point on. To say in the opening credits that �cinematic liberties� have been taken in the unspooling of a deeply cinematic life takes away something crucial, something electric.

Why are the romantic entanglements of a self-confessed Casanova executed with such coyness? Except for Sonam Kapoor�s spirited Ruby, an early Sanju love whom he seems to truly pine for, the female characters get short shrift; Anushka Sharma�s first-reluctant-then-admiring biographer is one of the weakest links in the film.

Still, what we get, and how we get it, in Sanju, is most engaging, and some of it good enough to make you laugh out loud in pleasure, especially when Hirani is killing it. But you wonder too what the film chose to leave out, and you wonder if this would have been more of a film if those things had been in here.


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nh 10

When you are faced with mortal danger, you can either fight or flee. NH 10 takes us on a journey in which both fleeing and fighting struggle for space, till the time comes to stop running.

When young, attractive, urban professional Meera (Anushka Sharma) urges her husband (Neil Bhoopalam) to run away from the men who are terrorising them, she is doing what instinctively comes to most of us. When she turns around to face the enemy, we want to cheer. Because this is a lone woman in a man�s world, the kind of world where women are killed before they are born, or dumped, after they draw their first breath, in rubbish bins. It is the land of the Khaps, where caste and gender determine whether you will live or die. Or, worse, how you will live and die.

The build-up in Navdeep Singh�s second feature is so tight, so tense, so horrifying that you can�t blink. NH 10 goes through Haryana, which is about as far as it can get from the upscale Gurgaon highrises people like Meera and Arjun occupy: as a character tells Meera, �jahaan aapke Gurgaon ka border khatam hota hai, wahan law khatam, maddam�.

A run-in with a bunch of violent men who are seen abducting a young couple begins a spiral in which Meera and Arjun sink deeper and deeper, with no reprieve in sight. Gunplay results in an accidental death, and the bunch, led by Satbir (Darshan Kumaar), turns upon the two with murderous intent.When the chase is under way, the two urbanistas running for their life, wounded and bleeding, you sit there with your heart racing and your hands clenched. Till this point the film is wholly believable, especially for those of us who have traversed the badlands of Haryana: these are roads where women are not safe, whether it is broad daylight or in the dark watches of the night.

Which is why Meera�s decision to turn upon the men with no other weapon than burning rage is too much of a stretch. Singh is clearly someone who knows his Jatland. His villages which dot the Haryana countryside are full of just-right sketches of grizzled taus sitting on khaats and being sardonic: that their jokes are misogynistic will never have occurred to them. The men are drawn with insider knowledge, and they are all scarily good, especially the always excellent Jhankaal, and Kumaar.

Some of Singh�s skills which he used to make Manorama Six Feet Under such a terrific film are in evidence here, in the recreation of the place where his lethal drama is playing out. The female sarpanch (Naval) who is the kind of woman who is the worst enemy of other women, rings true. So do the other women: both the one who survives and the other who doesn�t, paint an accurate portrait of a part of today�s India which lives, flagrantly flouting all rules, in medieval times.
But the suspension of disbelief is difficult when it comes to the leading lady, who, in her zeal to become a Killi Billi, throws the credibility switch. It�s not that Sharma, who has also produced the film, is not trying hard. She is, and up to a point, she is in fine fettle. But at the point when she turns from flee to fight, I stopped believing.

Leading ladies green-lighting films that can have them on top is wonderful, but to what end? Meera, dragging on her stolen-but-earned cigarette, deciding on a career path, being an equal partner, is a great sight; Meera, dragging a sharp bhala on the ground, with the soundtrack helpfully amplifying the sound, does not leave me cheering.

Haraamkhor
Cast: Nawazuddin Siddiqui, Shweta Tripathi
Director: Shlok Sharma
Rating: 4.5/5

The Censor Board objected to the �bold� content of Haraamkhor because they thought the Indian audience was not ready for such experimental cinema. This forced the makers to make a legal appeal before the Film Certification Appellate Tribunal, which delivered the verdict in the movie�s favour.

Now that the film is released, the board will have to explain why they thought the film was not suitable for Indian audiences. Probably because Haraamkhor can connect with most of us. And it�s told sensibly.While what happens between Shyam Tekchand (Nawazuddin Siddiqui) and Sandhya (Shweta Tripathi) in this indescript North Indian village is undeniably shocking, we have witnessed such things around us. From tutors touching their pupils inappropriately to students getting infatuated with their teachers, we have seen it all.

Did you not know a teacher infamous for his temper? Wasn�t there a classmate who once wrote a love letter with his blood? Also, there was a time when we all wanted to explore our sexuality � wasn�t there? I grew up in a place where a forest ranger was once beaten up for luring small kids to his secluded house. There, people chuckled when unmarried women visited doctors but remained tongue-tied when they were found dead under mysterious circumstances. In short, beyond our urban borders is a whole world where Haraamkhor would appear like a reflection of daily life.

All these people are real. They have grown up as somebody who looks at sex with suspicion, but has a hard time containing his lust. Not knowing how to go about it, they remain frustrated, deprived and depraved.

Shyam has a volatile temper, and beats up adolescent girls in anger. He tries his best to fool his wife (yes, he is married) but is also conscious of his �sins�. It�s a complex narrative: Semi-urban Indians dealing with the loneliness of their lives, looking for the shortest way out. Societal fear is probably the most potent tool for keeping things from falling apart. As is the case in most of mofussil India, policemen are regarded with dread. But even that doesn�t stop Shyam from taking advantage of Sandhya.

He is a predator, much like Ramanna of Raman Raghav 2.0 but not as blunt. Not yet. Also, director Shlok Sharma plays with angles of perception � you can�t easily spot the culprit, it can be done only with the help of existing social norms. You know the girl is infatuated and everything happening before you is consensual, but it�s still wrong. Why? Because the law says so.

Because the law�s like that. Siddiqui is at his deceptive best. He plays a sexual offender to perfection, but you can�t judge him instantly. Your opinion of Shyam may change if the government decides to lower the age of consensual sex to 15.

Sharma smartly weaves the story from the perspective of two kids who study in Sandhya�s class. They are fast losing their innocence, but then, they were never supposed to remain immature � at least not in circumstances such as these.

The concept of protected childhood is not heard here. Sandhya�s juvenile behaviour and urge to understand her body better are visible. The shaky camera and wide minimalist frames make her life seem even lonelier. It�s a role Tripathi should be proud of. Masaan was no fluke.

Here's news. Tum Bin will surpass your expectations.

A film revolving around a girl and three men who enter her life, Tum Bin is a good first attempt. Only, it's very evident it's a first attempt.

The beginning -- a hit and run accident. Shekhar Malhotra (Priyanshu Chatterjee), a corporate whiz, kills Amar Shah (Rakesh Bapat), an industrialist from Canada.

Amar was to get married in a week. Unable to live with the guilt and haunted by Amar's fianc�e Pia's (Sandali Sinha) poem (which she recites to Shekhar mistaking him for Amar), Shekhar decides to go to Canada to meet Amar's family.

Only sto find an old father numb with grief, a sister who misses her brother and Pia, who is struggling to save the sinking Shah industry.Predictably, Shekhar manages to get through Pia's prickly defenses, solves math puzzles for Amar's younger sister, wins over Amar's father, grandmother and Pia's best friend. He even manages to weave his magic wand and turn the company around.

There is another twist in the tale -- Abhigyan (Himanshu Malik), a suave business tycoon, who falls in love with Pia at first sight.

That's the first half. Which holds your attention. Especially notable are the scenes which show Shekhar celebrating Diwali alone and his conversations with his friend that portray a man in conflict trying to do the right thing.

Shekhar's attempts to help Pia and his relationship with Amar's sister are fairly well etched, despite some clich�d dialogues and screenplay. His servile attitude in trying to worm his way into letting her work with him, for example. His managing to get a contract within a few hours is rather implausible. The scene when he gifts Pia a hat and asks her to keep smiling is overdone.

The second half disappoints. Unable to tell Pia that he loves her, Shekhar tries at playing martyr. Realising that Abhigyan loves Pia and would be a perfect match, Shekhar tries to make way.

What's interesting here is the way director Anubhav Sinha portrays Shekhar physically moving out of Abhigyan's path or even the scene when Abhigyan realises that Shekhar is also in love with Pia.Himanshu Malik as Abhigyan fails to convey the required conflict and the third angle in Pia's life. Wooden and stiff in parts, his longwinded and supposedly romantic dialogues fall flat. Continously repeating some mumbo jumbo about a ring, fingers and murmuring Pia's name like a parrot, Abhigyan seems more loony than moony.

His movements are very exaggerated and seem like an extension of his modelling and music video experience.