India TV News does not sound that impressed: “The execution over here is half baked. You tend to hold your seat till the interim with some thrills and surprises. This serves the purpose to some extent,  but in the second innings it goes predictable and the dialogues go wacky.”

Emirates 247 thinks its half-baked: “‘Aurangzeb’ is unforgivably half-baked and falls short of being a classic. What it does pack is some stellar performances and a promise of better movies in the future.”

IBN Live feels many good ideas are lost in execution: “Despite its promising premise, evocative of the quirky American comedy Napoleon Dynamite, writer-director Sonam Nair’s debut film hits rough patches because the writing is so derivative, few of the characters feel particularly original or interesting.”

Nowrunning thinks its worth a watch: “Gippi is fun, Gippi is relatable and Gippi is every bit adorable. A film should definitely make a hit at least among the school kids, especially as the film smartly releases during the summer vacations!”

NDTV Movies thinks of it as a mixed bag: “For all its attempts to look and feel different from the run-of-the-mill, Gippi is pretty obviously not the ultimate film about adolescence. But there is no denying that it is a warm-hearted film, if nothing else, with some nice touches that might strike an emotional chord.”

The Times of India sounds impressed: “Despite the setting being restricted within the island and the only objective of the humans there being to either escape or execute the zombies, the story doesn’t get repetitive or monotonous. The zombies do contribute to thrills and chills but aren’t of the variety that would spook you beyond the film.”

IBN Live agrees on the humor as well: “The jokes fly thick and fast, particularly in the early scenes that benefit from a winning cocktail of laugh-out-loud dialogue and well-timed performances by the three leads. In one terrific sequence, they’re attacked by a trio of female flesh-eaters.”

Nowrunning calls it one helluva adventure: “Saif Ali Khan with all his blond hair, bleached beard and a fake Russian accent as he plays the zombie slayer is something you’ve never seen before. Go Goa Gone, in short, is a helluva adventure ride that leaves you in splits right till the end. A must watch for one and all.”

Nowrunning says the theme is as old as ever: “It cannot be denied that the basic theme that ‘Bharya Athra Pora’ dwells on is outdated to the core, and that no amount of Facebook masking would make it any less tiring. As someone whispered after the film, “the wife isn’t that good, nor is the film!”

Rediff feels the film is strictly for Jayaram fans: “Families are considered to be Jayaram’s fan base and once in a while he comes up with a story that makes families flock to the theatres. His latest film Bharya Athra Pora is one such effort. To sum up, Bharya Athra Pora is loud and regressive.”

For Sify, its a lowbrow comedy: “Bharya Athra Pora may be fine in parts of those addicts of TV tearjerkers or the cheap comedy skits. For the rest of the viewers, this could be a sheer waste of time. Now decide on which side are you in!”

Nowrunning says that its a brain buster even with the statutory warning to leave your brains back home: “Even with the statutory warning to leave your brains back home, ‘Hotel California’ is a brain masher. The impossible to ingest plot contortions make it a bland mishmash that more than often seems contrived to the core.”

Rediff exhorts you to ignore it: “A question one often asks after watching some films is: “Why was this film made?” It’s a question one definitely asks of Hotel California, directed by Aji John. There is no plot to speak of in this joke of a film. The multiple subplots that remain underdeveloped.”

Sify calls it a damp squib: “Hotel California should prompt serious viewers and filmmakers to think about the line that separates decency and comedy. But then, we will wait for a worthy film to have such a serious discussion, ignoring this nauseating mess as a bad dream.”

Nowrunning is all praise for the bold theme and Prithviraj: “In ‘Mumbai Police’, Roshan Andrews and writers Bobby and Sanjay, lasso in their audience ever so steadily right into the midst of a steaming eddy. The dark lined elegance that the movie sports, makes it a gritty, knotty thriller – a hardboiled treat.”

Rediff feels its impressive: “The success of a suspense thriller depends on whether the viewer can put together the clues scattered in the narrative when the suspense is revealed in the end. Mumbai Police, the new film directed by Rosshan Andrrews, does just that.”

Sify says its one of the best films to have come out in recent times: “Mumbai Police belongs to its director and writers. Take a bow Rosshan, for taking the road less travelled, without too many commercial compromises.”

The Times of India states that the film marks the return of the director: “SAW ultimately belongs to Gupta, who stays true to the genre and makes a welcome return to the credible lot of Bollywood directors.”

Koimoi is all praise for the film: “Shootout At Wadala is an ingeniously made entertainer. Sanjay Gupta creates a well balanced venture which is beseeching for its crime thriller premise. John Abraham captivates in his charismatic role brimming with vicious grandeur. I am going with a 3.5/5 for this one.”

Taran Adarsh of Bollywood Hungama affirms that SG has delivered a solid punch this time around: “ Shootout at Wadala is a fire-brand, paisa vasool entertainer. Brutal and electrifying, it is one of those theatre-going experiences that has a plot, is packaged well and has content [drama, action, dialogue, songs, performances] that works big time with the avid moviegoer. Sanjay Gupta delivers a solid punch!”

The Times of India sounds impressed: “BT’s a good experiment, celebrating movies, mindsets and Mumbai’s moods – but it isn’t the coolest film doing so. Woh picture abhi baaqi hai, mere dost.”

NDTV Movies gives it 3 stars out of 5: “Bombay Talkies serves its principal purpose quite well: each segment of this cinematic anthology underscores in bold relief the defining creative impulses of its maker. To that extent, Bombay Talkies springs no surprises at all. You get more or less what you expect.”

Daiji World exhorts you to watch this film if you watch only one film an year: “”Bombay Talkies” is segmented and layered, yet cohesive and compelling from the first frame to the last. While unravelling the magic of cinema and its impact on the minds of audiences, “Bombay Talkies” also displays how much cinema has evolved over the generations. “

Behind Woods thinks the film works, but in parts: “Toting up, Vasanth’s Moondru Per Moondru Kadhal, although eulogizes love, works in parts with music and camera helping the story but his style has not been felt powerfully in the film.”

Rediff feels the film is a mixed bag as well: “He is known for exploring the different facets of love through his films. In Moondru Per Moondru Kadhal, he has attempted to highlight the fact that sacrifice is greater than love.  And love is all about giving. But, unfortunately, what comes across does not seem very rational. He has not been able to bring out that depth of emotion required of such a sacrifice.”

Kollywood Today suggests that its worth a watch: “The film stands out in an era of wafer thin story line movies that aim to give only a hearty laugh for two hours.  A must watch for those who love movies with substance.”

India Glitz sounds all impressed: “It is not very often that a director can keep you in splits with intelligent dialogues, a good pace to keep the  story moving briskly. There is so much fun in the first half hour that when the interval arrives you are amazed and want to know how it all ends. Full marks to the director for just that achievement.”

Behind Woods agrees as well: “The director is rather successful in making the audience root for the anti-hero group and their reckless ways but the viewing is lacking of a certain stranglehold because of many long drawn-out scenes and the leisure manner in which the story unfolds to an end.”

Desi Martini gives the film a thumbs up: “Vijay Sethupathi, the overnight star of Tamil cinema, is either lucky or the smartest actor in the business to choose a different film every single time. Even though he may have done only three films as lead, including this film, but every one of them is poles apart from each other. His latest outing “Soodhu Kavvum”, a crime-comedy, successfully treads a path bereft of boredom and criticism.”

Sify calls it ‘paisa vasool’: “On the downside after a comedy riot in the first half, post interval the film becomes too serious and emotional. However If laughter is the best medicine, try out Ethir Neechal, the complete summer family entertainer.”

Behind Woods thinks its a family film: “On the whole, though the movie isn’t very racy, it offers something for the entire family. Beyond just being a mindless romantic comedy, it also makes some valid points about the state of poor athletes in the country.”

India Glitz thinks its a mixed bag: “Now for the final say, the director has made a wonderful movie no doubts or big qualms. However the movie’s storyline is wafer thin ice with the plot itself being very predictable. Post second half the movie’s storyline is nothing short of what you see in the usual flashbacks with some devious plots, sentiments and normal stuff.”

Nowrunning feels the director has hit an all time low: “Things have got steadily worse as far as Rajasenan films are concerned, and ’72 Model’ adds itself to the ‘never to be seen’ movies by the director. Its numbingly bad, and you wonder if it could have lasted for more than a week in the theatres even if it were released way back in ’72.”

Sify calls it avoidable: “72 Model is meant to be funny but what you feel is anger towards everyone who made this nauseating flick. Why can’t producers think before funding ridiculous projects like this one?”