[mks_button size=”medium” title=”Average Rating of All ‘Ok Jaanu’ Review – 2.5 stars” style=”rounded” bg_color=”#1e73be” txt_color=”#FFFFFF” icon=”” icon_type=””] Ok Jaanu Review by Indicine Rating: OK Jaanu doesn’t offer anything new. In fact it repeats a lot of negative traits from previous unsatisfying movies like frustrating character traits, going round in circles around the same plotline and underutilized supporting characters. It is not very entertaining and AR Rahman’s music makes it somewhat watchable. It would be wrong to say that OK Jaanu is a waste of potential because not a lot could have been done with the basic story. Shaad Ali disappoints once again as this time even a remake of his mentor’s film can’t save his movie. OK Jaanu eventually finds it difficult to be called even an OK film. Ok Jaanu Review by Bollywood Hungama Rating: OK JAANU, which happens to be the official remake of the hit Tamil film O KADHAL KANMANI, has been directed by Shaad Ali. After having directed the disastrous Ranveer Singh-Ali Zafar-Parineeti Chopra starrer KILL DIL, Shaad Ali returns with OK JAANU. Even though Shaad Ali exhibits sincerity with his direction, one cannot help noticing the fact that the film is many ways seems like a rehash of SAATHIYA. On the whole, Shaad Ali fails to build a convincing story with OK JAANU. However, thanks to Aditya Roy Kapur and Shraddha Kapoor’s performances, the audience stays glued to the screen. While the film’s first half sets the ambience and the mood of the film, it’s the film’s second half that actually gets the film going. The flip side of the film’s second half is that, the climax looks way too thrusted and dragged in order to highlight the simple aspect of realisation of love between the lead characters. The biggest letdown, however, is the film’s writing. It’s the film’s writing gets convoluted and confused trying to address the concepts of love, live-in relationships and career. In an attempt to do so, the film goes astray, thus, not doing justice to any of the above-mentioned aspects. Review by Shubhra Gupta on Indian Express Rating: In Ok Jaanu, we can see Shraddha has progressed on the acting scale, and looks pretty and fresh. Aditya Roy Kapoor has some nice bits too, but the whole enterprise is beset by a drabness, which is surprising because you can accuse Ratnam of anything but being drab. And given that Shaad Ali did such a good job of the previous time he remade a Mani Ratnam film, it is even more surprising. I can see Saathiya and listen to its lilting songs any number of times (its Tamil original Alaipayuthey is mandatory viewing for anyone interested in mainstream romance). Ok Jaanu Review by Manjari Saxena on Gulfnews Rating: It’s disappointing to see a man of Mani Ratnam’s calibre pen a story that loses its plot as it keeps presenting the same thing over and over again in slightly different settings. Yes, we get that Adi (Aditya Roy Kapur) and Tara (Shraddha Kapoor) are discovering their feelings for each other and the song and dance in the rain is all necessary. But Ali could have easily established that in three scenes rather than using the entire first half of the film — and then carrying on the humdrum after the interval. Moreover, Kapur and Kapoor are nothing like the ardent lovers from Aashiqui 2. The spark we witnessed between the actors in the other film seems to have been doused by the rain in this one. Ok Jaanu Review by Lokesh Dharmani on Masala Rating: Ok Jaanu doesn’t convince you with the couple’s fear against marriage. Neither does it showcase real career problems. The parents and family are also such boring cardboard characters. You can see the climax well in advance but can hardly see any logic or reasoning in their change of hearts. Review by Nihit Bhave on The Times Of India Rating: In this seemingly tailor-made role, Aditya Roy Kapur shines as a goofy, shorts-wearing man-child. Shraddha is mostly sincere too, but there are scenes where you can’t help but flashback to Nithya Menen, who had charmed people’s socks off with her performance in OK Kanmani. Adi and Tara’s impulsive infatuation is countered by Gopi uncle (Naseeruddin Shah) and Charu aunty’s (Leela Samson) golden-jubilee marriage; both senior actors grounding the movie and saving it from becoming frivolous. In spite of its Pros, one can’t deny that unsure young lovers and their battle with commitment phobia is a tired topic to begin with. Moreover, if you’ve seen the original Tamil film, it’ll get tedious after a while, knowing exactly what’s coming next. If you haven’t seen the original though, you’re sure to walk out of the theatre with a warm-fuzzy feeling. Review by Rashma Shetty Bali on Bollywood Life Rating: While Shraddha and Aditya both fare decently through the first half, the emotional scenes are a major let down. There’s very little scope for an actor to NOT perform in this film, and the climax is where the real test lies. Unfortunately both Shraddha and Aditya fail to make you feel for their characters when it is most needed. What’s worse is you have two prolific actors in the same frame. And yes, Shaad Ali has a massive Saathiya hangover. Well, OK Jaanu will be a treat to Shraddha and Aditya fans. If you are a sucker for romantic films or then easy movies then you wouldn’t mind spending your two hours and fifteen minutes in the theatre for this one. Review by Raghav Jaitly on Zeenews Rating: I was a bit disappointed to not find anything new in ‘Ok Jaanu’ as all its promos and trailer highlighted the gen next spark. Shaad, who previously made ‘Saathiya’ and ‘Bunty Aur Babli’, struggled hard to live up to the pre-release faffing. At times, the plot even felt directionless. Only in the last few scenes of the second-half, we get to know where the film is heading. If we talk about the performances, veteran Naseeruddin Shah stole the show, hands down. Otherwise, ‘Ok Jaanu’ lacks the enthusiasm and fervour that the youth expects. Aditya and Shraddha were decent in the movie but we have already seen their best earlier. So, this time, they didn’t quite hit the bulls-eye. Leela Samson has also done a fair job. Review by Sweta Kaushal on Hindustan Times Rating: Mani Ratnam’s screenplay is the star of the movie, and the actors are natural and energetic enough to convincingly portray it onscreen. While Aditya and Shraddha share a naturally organic chemistry, Nasser and Leela remind us why they are two of the best among veteran actors today. AR Rahman’s music and Gulzar’s pen add to the charismatic, positive vibe of the movie – while the music keeps it peppy and new-age, Gulzar’s dialogues ensure that melodrama does not overpower the film. Review by Rohit Bhatnagar on Deccan Chronicle Rating: If you thought that ‘OK Jannu’ is a peculiar love story, you will be disappointed. However you can still watch it for Aditya and Shraddha’s organic chemistry. Looks like their sizzling reel life chemistry has stemmed out of their real life romance. Review by Sameeksha on News18 Rating: Everything in OK Jaanu is beautiful and real solely because of its story. If you haven’t watched O Kandhal Kanmani, this might appear as one of the best love stories of the recent times. It’s real with minimal melodrama, passionate, refreshing and relatable, and the credit goes to the original screenplay. This breezy romance deserves a watch for its story, good chemistry and the character of Adi, Mr. Gopi and Rahman’s music. Even if you are not a romantic, you will fall in love with this charming love story. Review by Tushar Joshi on DNA India Rating: Ok Jaanu is Okayish when it comes to the heavy duty parts. Shaad teases you with the real drama but only manages to scratch the surface. We never really get to see Adi and Tara’s deepest darkest fears or their honest understanding of the complexity that comes with a love story like theirs. The first half particularly emphasises too much on sugar coating ever dialogue and ensuring every frame looks pristine and well lit up. The beauty of imperfection is missing in this love story. Naseer and Leela’s scenes and their exchange of words takes the story to an expectation that is let down by Adi and Tara’s attempt to be goofy and cute. There is also an eerie Saathiya hangover courtesy the collaboration between the same team (Mani Ratnam-Shaad Ali). As we near the climax we expect Adi and Tara to finally some sort of a showdown, if not at least a conversation about their future, instead we cut to a song that is patched in to give the mandatory romantic ballad to the soundtrack. Despite being set in 2017 with a contemporary look and feel, Ok Jaanu’s idea of love feels dated. Brand placement in the middle of a romantic scene that’s meant to evoke some emotion is a terrible idea! Review by Manisha Lakhe on Nowrunning Rating: You get so tired of the dialog you wonder why the Tamil version directed by Mani Ratnam (thankfully this follows frame by frame) was not such a bore to watch. Then you realise that in staying true to the original, there are pauses and silences induced because Dulquer Salman and Nithya Menen have far better screen presence and acting chops than Shraddha Kapoor and Aditya Roy Kapoor. Aditya has played characters who commit suicide in most of his films, and this romance also seems to drive the audiences to it, especially in the second half. Review by Saibal Chatterjee on NDTVMovies Rating: A breezy, feel-good romance with its share of highs, OK Jaanu floats along through some interesting thematic territory without managing to soar to the altitude one expects it to. This is a slightly modified remake of Mani Ratnam’s Tamil smash hit OK Kanmani, enlivened by a charming and lively pair of leads and lent a degree of gravitas by the supporting duo of Naseeruddin Shah and Leela Samson. OK Jaanu is composed of consistently pretty frames, with DOP Ravi K Chandran capturing the rains and trains – and much else – of the city of Mumbai with an unfailing eye. The sounds that AR Rahman generates, both in his background score and in the form of songs, are pleasing to the ear. The dialogue penned by Gulzar is more than just the icing on the cake. In the main, it is the cake itself. It radiates warmth, wit and wisdom. But, sadly, the enormous wealth of inputs in terms of language, visuals and acting do not quite add up to nonstop magic. And that’s highly disappointing. Review by Sukanya Verma on Rediff Rating: Ok Jaanu raises but doesn’t resolve questions about juggling professional and personal life, the dilemmas it poses for a woman. But it does address the changing face of modern-day relationships and the alternate arrangements it’s looking at in a wishful way. In Ok Jaanu, characters live in a bubble that doesn’t burst till the end. Who wouldn’t be OK with that? Review by Samrudhi Ghosh on India Today Rating: It was Dulquer Salmaan and Nithya Menen’s breezy chemistry that made the original so popular, and Aditya and Shraddha don’t disappoint on that front. Shraddha has come a long way in the acting department from her Luv Ka The End days, and Aditya slips into the role of a man-child figuring out life one day at a time with ease. But it is the elderly couple who make OK Jaanu worth a watch. Naseeruddin Shah effortlessly conveys the pain of loving someone with a degenerative disease, and his relationship with his wife in the film is endearing. AR Rahman’s songs in the original were all chartbusters, but the title track does not sound half as good in Hindi. Enna Sona is quite likeable, though. The strength of the film is that it remains faithful to the original, and if you haven’t watched that, OK Jaanu makes for a decent watch. Review by Kunal Guha on Mumbai Mirror Rating: A chief reason why this one falls flat in comparison to the Tamil version, despite being largely the same frame-to-frame, is the lead cast. Both Aditya and Shraddha are a let-down and a lot weighs on their performances since the supporting cast is peripheral to the story. While Shah and Samson are adorable as a cute old couple for whom the spark hasn’t gone out yet, even they can’t save the day. Director Shaad Ali, who has previously remade Mani Ratnam’s Alaipayuthey as the much-loved Saathiya, ensures much is lost in translation here. Retelling a story in another language means being sensitive to the nuances of the recipient language as not everything will translate precisely, something that wasn’t taken into account here. Much has been said about the cover of AR Rahman’s Humma Humma but sadly, none of the other songs from the soundtrack impress either. Review by Vishal Verma on Glamsham Rating: On the flip side, the movie is overpowered by predictability in the second half making it appear boringly longer then the duration. Bollywood rom-coms continue to nurture this cliche idea that marriage is the end of life and love but many a times it’s not the case, for a considerable chunk it’s a beginning. Mani Ratnam made a comeback by ‘playing safe’ with O KADHAI KANMANI and his follower Shaad Ali has just repeated what Mani did. Mani’s film was feel good, fresh but not a great cinema as per the calibre of the prolific helmer who is said to have left his influence on RGV, Shaad Ali, E Niwas etc. Shaad Ali though successful in making a feel good and harmless rom-com losses mark on not being original and mostly rehashing his mentor’s work in OK JAANU for the thinking audience. Review by Meeta on Wogma Rating: Of course, I watch one after another, the romantic in me even looks forward to almost all of them. This is in the hope for that one moment of “spark”, that one fresh insight on relationships, that one instance of being together which connects me to the characters. OK Jaanu has none of these. Interestingly individually some of the departments worked very well. Some scenes, especially those shot in the Mumbai trains went well with the pace of the relationship and its confusion. The background music and absence thereof also provided just the right amount of calmness between the mad, supposedly intense love between the lead couple. Review by Mayank Shekhar on Mid-Day India Rating: And that’s what makes this film rather breezy with light romance, and slight humour for the most part, and the lead actors, perfectly paired, to add a touch of both. This is what the teenagers eagerly packing in the FDFS (first-day, first show) in my theatre had been drawn towards anyway — speaking of the point of remaking a film! Besides that, mainstream audiences rarely watch movies that are not in their own language (unless dubbed, in the case of Hollywood). And many of them could have been lured by the rather odd version of ‘Humma Humma’ because they were too young or perhaps not even born when the original appeared as the first proper ‘item song’, in Ratnam’s ‘Bombay’ (1995). Beyond these fine and obvious baits, the film itself seems so strictly okay. Going back to the title, and pardon the petty peeve (it’s mostly thanks to Whatsapp), the word is okay, or OK, even O.K. will do — not ‘Ok’ Jaanu. OK? Ok Jaanu Review by Indiaglitz Rating: There’s no doubt that ‘OK Jaanu’ is much better than director Shaad Ali’s last film, but nowhere in comparison to his debut romantic film ‘Saathiya’. He manages only to recreate some of those many wonderful moments due to which the movie falls flat in the second half. Aditya Roy Kapur is sweet in parts due to his goofy antics. Shraddha displays a decent performance and does justice to her character. Naseeruddin Shah and Leela Samson do full justice to their track, which is one of the strongest positive point of the film. Review by Subhash K Jha on Bollyspice Rating: While Aditya Roy Kapoor tends to get out of rhythm and clunky with his jaunty cool-dude act, Shradha Kapoor is pitch-perfect. Her Tara is a waif, a child-woman lost in her ambitions trying to find her bearings in a relationship that takes her by surprise. Not only does Shradha capture the sur of the romance– part playful, part questioning, somewhat uncertain and yet in control—she has never looked more beautiful on screen. Sadly Shradha’s scenes with her estranged mother come off extremely trite and selfconscious, for no fault of hers. Kitu Gidwani, generally known to be a skilled performer here plays the working mom on a one-note scale. Review by Joginder Tuteja on Movietalkies Rating: Ok, so with Shaadi Ali [Kill/Dil, Jhoom Barabar Jhoom] as the director, you do wonder if a thorough entertainer would indeed be in the offering. Well, he doesn’t make a Saathiya but does better than before. Ok, so with the talkie promo not quite offering much, there was always an apprehension around how the final product will shape up. Well, it is indeed better than the promo, though not thoroughly engaging. Ok, so with 2016 churning out many films with good first half and average second half, you do hope that’s not the case here. As it happens, one does wish second half was equally good as the first half here. Review by IANS on Sify Rating: The climax is stretched unnecessarily if only to make the young couple realise and declare their love for each other with the devotion of the older couple towards each other as the backdrop. A deliberate attempt that appears very contrived. The scenes appear disconnected and the actions of the characters often defy logic. Shaad Ali merely goes on with the narrative, as if with a set intention of telling a story, no matter how cliched. There is no element of freshness to the plot. Best Rated Films in 2016 (a list of 2017 films will be created after 5 films release this year) Dangal – 4.1 stars Pink – 4 stars 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 Budhia Singh – Born To Run – 3.4 stars Sultan – 3.3 stars Dhanak – 3.3 stars Phobia – 3.3 stars Waiting – 3.3 stars M.S Dhoni – The Untold Story – 3.2 stars Parched – 3.2 stars Kahaani 2 – 3.1 stars Dear Zindagi – 3 stars Ae Dil Hai Mushkil – 3 stars Sarbjit – 3 stars Happy Bhag Jayegi – 2.9 stars TE3N – 2.8 stars Dishoom – 2.7 stars Befikre – 2.6 stars Force 2 – 2.6 stars Akira – 2.6 stars Rustom – 2.6 stars Azhar – 2.6 stars Kabali – 2.6 stars Baar Baar Dekho – 2.4 stars Moh Maya Money – 2.4 stars Mirzya – 2.3 stars Rock On 2 – 2.3 stars Shivaay – 2.2 stars Freaky Ali – 2.2 stars Mohenjo Daro – 2.2 stars Banjo – 2.2 stars Rocky Handsome – 2.1 stars Tum Bin 2 – 2 stars Wajah Tum Ho – 1.4 stars

OK Jaanu is the official remake of the 2015 Mani Ratnam film ‘O Kadhal Kanmani’. Shaad Ali has again...

[mks_button size=”medium” title=”Average Rating of All ‘Haraamkhor ‘ Review – 3 stars” style=”rounded” bg_color=”#1e73be” txt_color=”#FFFFFF” icon=”” icon_type=””] Haraamkhor Review by Renuka Vyavahare on The Times Of India Rating: Haraamkhor addresses a significant issue without taking sides and that’s commendable. Sadly, the righteous social awareness disclaimers that appear frequently during the ‘diluted controversial’ scenes, do not embody the film’s dark humour or audacious nature. The jumpy narrative leaves a lot unanswered, making you feel indifferent towards the characters. It’s nice when a filmmaker leaves certain things to the audience’s interpretation but Shlok Sharma expects way too much from his unsuspecting viewer. It’s tiresome to fill in the blanks after a while. Those who have seen the film at a festival claim that a few scenes have been cut and what you get is a water-down version. Whatever the reason, they seem disconnected and that puts you off. Haraamkhor Review by Shubhra Gupta on Indian Express Rating: Sandhya’s character is the most fleshed out, and Tripathi makes the most of her confused angry fifteen year old, seething with resentment and longing, looking for love. I found Siddiqui muted though, coming through only in a couple of scenes, telegraphing a randiness his character needed more of to be entirely credible. Trimala Adhikari, as Siddiqui’s wife, impresses: she is both sympathetic and suspicious, and rightly so. Two young boys (Mohammad Samad and Irfan Khan) act as a narrative thread, spying on, and intersecting with the doings of Sandhya and Shyam: the former is just your quintessential little busy-body ; the latter has feelings for the girl. They provide amusement, especially Samad, but some of their banter seems to be played just for laughs. Overall, despite some strong moments, the film suffers from slightness and disjointedness: did the censorship process snip off more than we could chew? Was there more? A second film from the clearly talented Sharma will give us a clue. Review by Rohit Bhatnagar on Deccan Chronicle Rating: Nawazzudin Siddiqui is undoubtedly a master of his craft. His aggression and agony will win your heart. His performance is admirable in a few scenes where he teases Sandhya before making love to her. The way he carries himself as a lusty school teacher is commendable. The scene where he suddenly slips in and out of his violent character is remarkable. His performance is a joy to watch in every single frame of the film. After garnering so much fame with Masaan, newbie Shweta Tripathi surely deserves a standing ovation for her performance in the film. She pulled off the role of a fifteen-year-old girl discovering herself with great conviction. Trimala Adhikari and the two kids Mohd Samad and Irfan Khan are praiseworthy. Review by Sreeju Sudhakaran on Bollywood Life Rating: Haraamkhor is definitely not everyone’s cup thanks to its gritty subject. However it is not exactly a fantastic piece of art either, even though it had the potential to be one. But thanks to the spectacular performances of Nawazuddin, Tripathi and the kids, Haraamkhor can be an uncomfortable one-time watch. Review by Saibal Chatterjee on NDTVMovies Rating: If nothing else, Haraamkhor is a triumph of casting. Every actor is perfectly suited for his/her part. The two young actors, Irfan and Samad, are outstanding, as are the older members of the cast – Trimala Adhikari and Harish Khanna. Haraamkhor isn’t a ground-breaker, but it certainly is worthy of applause for its fearlessness and for the impressive quality of the acting. Review by Mayank Shekhar on Mid-Day India Rating: As per Urban Dictionary, HK, or ‘haramkhor’, is some someone who gets kicks out of doing something he’s not supposed to. In that sense, this film isn’t an incessantly dark one on exploitation, and a minor’s sex abuse, as it were. Or even something salacious, or simplistic enough to look at how this odd sort of bond, which is essentially a taboo, pans out, at home, in class, or elsewhere. Review by IANS on Zeenews Rating: It is this absence of straitjacketed characters and a refusal to let the people who populate the dusty town in the pre-cellphone era off the hook, that lend a kind of provocative intrigue to the proceedings, even when towards the finale, the plot spins out of control to create a dark, brooding tragedy that mocks the every essence of existence in such back-of-the-beyond places where survival is never about the best options. See “Haraamkhor” for its original and audacious content and for the way the debutant director extracts a gush of empathy from these bored characters even during their worst moments. Love, we always knew, as redemptive. But lust needn’t be all that bad either. Review by Manisha Lakhe on Nowrunning Rating: In fact, the whole story is innocently told through Kamal and Mintu’s point of view. They witness everything and begin to hate the teacher. They annoy him and annoy him and then annoy him some more until there is only one way out. And it will shock you more than Nawazuddin raising his hand to the schoolgirls. Those of us living in sanitised urban surroundings will wince at the casualness of the violence in film. You will worry for the young Sandhya who casually eats ice cream, teasing and provoking Shyam when she should be worried for her physical safety. You’ll instantly hate Sandhya’s dad and his girlfriend. You will laugh nervously at the jokes cracked by the Kamal and Mintu, and you will have all kinds of premonitions about the end. And yet when the end comes, you will wish you had not seen it coming. Review by Vishal Verma on Glamsham Rating: Nawaz is a gifted actor but here his ill defined character restricts the audience to have any connect. Shweta who initially charms her way into the audience suddenly finds herself left out with no mercy due to her characters unexplained choice. This proves that no matter how good as an actor you are if the character is not established and defined well then the audience’s connect is minimum. After the insipid scripting, the lack of connection of Nawaz and Shweta with the audience becomes the movie’s biggest drawback. Further during the climax when we pray that this tepidly misguided attempt will reach to some conclusion, a dark, abrupt end makes the matter worse leaving the audience in confusion whether to scratch their brains or tear the screen in which they have just seen HARAMKHOR – ironically, the makers have managed to objectify the movie’s title in the end. BRAVO. What an art!! Review by Kunal Guha on Mumbai Mirror Rating: At 31, Shweta Tripathi internalises the emotions of a character who is half her age so immaculately, it’s difficult to imagine anyone else essaying the role. While 15-year-olds may be considered minors, it doesn’t undermine their ability to feel and experience. It is an age when one pines for adulthood and hopes to rush into it as a means for validation and Tripathi’s character summarises this aptly. Nawazuddin Siddiqui has played a range of characters in films but none have extracted as much from him. Here, he is able to convey his character’s mind space, sometimes even wordlessly. Trimala Adhikari, who plays his screen wife, effectively channels compassion, concern, jealousy and even disgust at various points in the film. Both Mohammad Samad and Irfan Khan are a delight to watch and their characters have been assigned sufficient pranks to diffuse the tension in the film. Haraamkhor may not be a film that sets a cinematic benchmark but it is an important one as it dares to explore a forbidden subject, without condemning or legitimising it. Review by Devarsi Ghosh on India Today Rating: Speaking of career haraamkhor, you have seen Nawazuddin Siddiqui play opportunist, conniving characters before (Talaash, Miss Lovely, Badlapur, Raman Raghav 2.0 even the ‘family film’ Freaky Ali) and each time he has added enough rough edges to make you feel like each avatar is fresh. Be that as it may, by playing the superhuman-among-lesser-humans character time and again, Nawazuddin has perfected and sharpened his tools as an actor to such an extent, that to match the street-smart evil in his eyes and the daredevilry in his gait in Haraamkhor would require the kind of actor who has definitely not stepped up on the Indian big screen yet. There is a lot to love and lot to notice in Haraamkhor. The film is like a diamond; the more you notice, the more you find imperfections which make it all the more beautiful, all the more perfect. Just one advice: Don’t take your jaanu to watch it with you, it is not a date movie. Review by Jaidev Hemmady on Movietalkies Rating: At the outset, let us warn you that the film is not for everyone. The track between Shyam and Sandhya will make you feel creepy as hell and thankfully, director Shlok Sharma has diluted the effect by juxtaposing this narrative with the story of Kamal, whose puppy love seems pure and eternal and like a breath of fresh air when compared to Shyam’s dubious affection for his student. Classroom crushes have always been looked at patronizingly by everyone, but this film will make one sit up and think about the potential for manipulation in such cases. To Sharma’s credit, he could have made the film preachy, but he chose to skirt the moral science lesson and present a story, which may not be palatable, but is sure as hell capable of making an impact while evoking some chuckles on the way. Review by Kriti Tulsiani on News18 Rating: The well-thought casting of the film pulls the narrative forward despite its sluggish plot. The subject is pretty relevant and one would have expected a lot of dark scenes in the film – but to a viewer’s disappointment – it offers none of those. Shlok Sharma has treated the subject with sheer sensitivity but ended up leaving a lot to viewers’ interpretation and imagination and after a while, even a viewer tires of filling the blank spaces. Haraamkhor is a well-intentioned film which deals with a socially relevant subject and for that we give it a thumbs up. But the fact that its makers couldn’t use the subject to its full potential leaves you a little empty towards the end. Review by Rohit Vats on Hindustan Times Rating: The concept of protected childhood is not heard here. Sandhya’s juvenile behavior 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. Brave and original, Haraamkhor walks the razor’s edge. One tiny mistake, and it could have been pronounced morally twisted. Some may call it immoral even now. However, Haraamkhor is one film you just shouldn’t miss, even if it’s just to see how Hindi cinema is exploring new themes with finesse. Review by Namrata Thakker on Rediff Rating: Nawaz does a fantastic job in playing a role which many A-list heroes wouldn’t dare to take up. As Shyam, he is not lovable at all but still manages to tickle your funny bone with his comic timing. Shweta Tripathi, who made her acting debut with Masaan, is a delight to watch. She is 33 years old but at no point in the film does she look like one. Despite sharing screen space with a stalwart like Nawazuddin, Shweta stands out with her fabulous screen presence. Irfan Khan (not the famous Bollywood actor) and Mohd Samad, who play Kamal and his friend Mintu respectively, lend good support to the story. Their naughtiness and innocence adds some layers to the dark and bold subject. Through their characters, the makers have highlighted how children have no knowledge about sex and how they have so many myths about it. Haraamkhor Review by Indiaglitz Rating: Director Shlok Sharma’s finale act could have been much better as the shock factor seemed bit forced. The movie is not for all those who love mainstream masala oriented films. There are many abrupt cuts and jumps which dilutes the flow of the film. ‘Haraamkhor’ is a bold, artistic and engaging film, which will be enjoyed by all those who like content driven film. The movie could have been a great film, but settles up only due to some great performances and the novelty factor associated with it. Best Rated Films in 2016 Dangal – 4.1 stars Pink – 4 stars 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 Budhia Singh – Born To Run – 3.4 stars Sultan – 3.3 stars Dhanak – 3.3 stars Phobia – 3.3 stars Waiting – 3.3 stars M.S Dhoni – The Untold Story – 3.2 stars Parched – 3.2 stars Kahaani 2 – 3.1 stars Dear Zindagi – 3 stars Ae Dil Hai Mushkil – 3 stars Sarbjit – 3 stars Happy Bhag Jayegi – 2.9 stars TE3N – 2.8 stars Dishoom – 2.7 stars Befikre – 2.6 stars Force 2 – 2.6 stars Akira – 2.6 stars Rustom – 2.6 stars Azhar – 2.6 stars Kabali – 2.6 stars Baar Baar Dekho – 2.4 stars Moh Maya Money – 2.4 stars Mirzya – 2.3 stars Rock On 2 – 2.3 stars Shivaay – 2.2 stars Freaky Ali – 2.2 stars Mohenjo Daro – 2.2 stars Banjo – 2.2 stars Rocky Handsome – 2.1 stars Tum Bin 2 – 2 stars Wajah Tum Ho – 1.4 stars