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On the flipside, while Priyadarshan handles the humour in the first half like a pro, he falters in the post-interval portions when the horror takes centerstage. The backstory fails to entice and gives a déjà vu of BHOOL BHULAIYAA [2007]. The climax is quite lengthy and despite the best effort, it doesn't grip viewers. A few characters shockingly disappear in the second half. Even the ones that enter the narrative post-interval don't get justified screen time.

Nidhi Dutta's story is cinematic and informative. It informs viewers about brave episodes from the pages of the 1971 war that many might not know about. Sumit Arora and Anurag Singh's screenplay is entertaining and, most importantly, easy to comprehend. The film is peppered not just with clapworthy moments but also scores on the emotional front. Sumit Arora and Anurag Singh's dialogues are conversational, dramatic and also clapworthy in several scenes. Anurag Singh's direction is exceptional. BORDER's [1997] biggest strength was that it appealed to a wide section of the moviegoers through its simple and hard-hitting storytelling. This is not an easy feat to achieve in today's times; the biggest of directors have failed at this endeavour. But Anurag comes out with flying colours.

On the flipside, the family track is weak and underutilized. A lot happens in the lives of Aarav and Chand and yet, they don’t make it a point to establish contact with each other. They do try, but by then, it’s too late. Moreover, the scene where Aarav’s parents discover the truth in the first half seems to have been abruptly cut. The confrontation scene with the coaching student also seems forced. These and a few other scenes slow down the narrative. Lastly, though the ending is sweet, it is also predictable.

Ashish R Mohan's story is weak at the very foundation level. Ashish R Mohan, Bunty Rathore and Saahil S Sharma's screenplay has its share of entertaining scenes. But at the same time, the loopholes are aplenty and negate the impact of a few positives. Bunty Rathore's dialogues are decent. Ashish R Mohan's direction fails to repair the faults in the script. He tries his best to pepper the narrative with humour and emotions. He has also mounted the film on a fine scale and shot it magnificently. The basic plot gives a déjà vu of films like BAWARCHI [1972], COOLIE NO 1 [1995], BAGHBAN [2003], CHUPKE CHUPKE [1975] etc. However, the aforementioned films were backed by solid scripts, which this film doesn’t have.

He earlier made MOM [2017], which was a gripping revenge saga, while YUDHRA [2024] was a slick action entertainer. Meanwhile, DO DEEWANE SEHER MEIN is miles away from these two films. There’s no violence; in fact, the male protagonist doesn’t have a beard and respects women. As a result, DO DEEWANE SEHER MEIN is like a breath of fresh air. The narrative style is a bit like that of K-Dramas, while the depiction of Mumbai gives a fond déjà vu of SAATHIYA [2002]; the only difference being that as per the changing times, the characters travel in the Metro and not in the local trains. Both are insecure in their own way and how it plays out makes for a dramatic watch. But the real strength of the film is that viewers would be able to relate to the characters and their dilemmas.

Rajat Kapoor's story is quite good and in the zone of classic murder mysteries. Rajat Kapoor's screenplay is captivating and very easy to understand. But it goes awry in the third act. Rajat Kapoor's dialogues are praiseworthy, especially the ones mouthed by Vinay Pathak. Rajat Kapoor’s direction is uncomplicated yet effective. Presenting a mystery of this nature is challenging, especially at a time when KNIVES OUT and several other films revolving around a murder and multiple suspects are still fresh in viewers’ minds. However, Rajat’s execution and writing stand out on several counts. To begin with, Sohrab Handa’s personality alone is enough to make his loved ones want to finish him off. Secondly, the psychological angle sets the film apart from others in the genre. The scene in which Chandra decodes the hidden equation shared by the guests purely through observation is especially memorable.

However, the film suffers massively as it appears to have been made using excessive AI and VFX. It also gives the impression that not a single scene was shot at a real location, making the visuals an eyesore. What will shock viewers is that in a crucial scene, one can easily spot the logo of an AI software on the bottom right corner, which is a dead giveaway. In another scene, a shot freezes while the dialogue keeps playing. The 3D is not up to the mark either. Moreover, the idea of two lovers existing in different eras sounds interesting, but it is also a bit puzzling and silly. The climax, too, is underwhelming. In the first part, HAUNTED [2011], it took a while for the protagonist to defeat the evil spirit. Here, it happens rather conveniently. The songs, meanwhile, are forgettable.

Robbie Grewal's direction is captivating. He is equipped with a story that not many are aware of – what the Tatas went through to create the Titan brand. The story follows the template of MISSION MANGAL, ROCKET BOYS etc. But in these stories, one can imagine that there must have been hiccups as India was taking a giant leap in the field of space. In that regard, MADE IN INDIA: A TITAN STORY will surprise the viewers. They’ll be stunned to know that the team faced innumerable challenges, despite the backing of Tata, that too for creating a watch brand. Even after the watch entered the market, the challenges didn’t stop. Moreover, the show not just entertains but also enlightens. It educates how the word ‘Titan’ came into being, the story behind the iconic Titan theme etc. and this again would impress the viewers.

Aayush Gupta, Deepak Kingrani and Baljeet Singh Marwah's story is fantastic. Aayush Gupta's screenplay is thoroughly gripping. But the writing could have been sharper. Aayush Gupta's dialogues enhance the drama. The monologue of Shivani stands out. Abhiraj Minawala's direction is impressive. He ensures that the film remains in the zone of MARDAANI [2014] and MARDAANI 2 [2019], both of which were not directed by him. This is also the lengthiest film of the series and yet, he ensures that there's not a single dull or boring moment. The story begins from the first frame. Shivani's entry is quite massy. The film gets better with the metro station sequence. The introduction of new characters adds to the fun. The interval point comes as a bolt from the blue. It raises the stakes in the second half.

O'Romeo Movie Review Conclusion: On the whole, O'ROMEO delivers several well-made moments and strong performances from the lead cast. However, the uneven writing and the ordinary soundtrack prevent it from creating the kind of impact it aims for. At the box office, it is likely to take an average opening, and it will need a solid jump from tomorrow to stay in the race and recover its high costs

Mudassar Aziz's story has all the trappings of a typical comic caper. Ravi Kumar and Mudassar Aziz's screenplay is peppered with several maddening moments that keep the interest going. However, the writing also has some loose ends. Mudassar Aziz's dialogues work but only in parts. Mudassar Aziz's direction is commercial. In PATI PATNI AUR WOH [2019], the protagonist was stuck between two women. In the second part, the protagonist is trapped between his wife and two ‘girlfriends’. This is a film consisting of madcap characters and loads of misunderstandings. Yet, the film never gets confusing. The way Prajapati lands in a spot and the way the misunderstandings crop up make for an amusing watch. A few supporting characters, like the bua (Ayesha Raza), seem unwanted at first, but they add to the madness nicely.

Baby Do Die Do Movie Review Conclusion: On the whole, BABY DO DIE DO works due to its stylish execution, quirky characters, unexpected twists and a terrific performance by Huma Qureshi. However, the low pre-release buzz and its clash with ALPHA, another film centred on a female assassin, may dent its prospects at the box office.

On the whole, BHAI TERA STAR HAI is a chaotic and unfunny comedy that fails to make the most of its interesting premise and single-take sequences.

Homi Adajania's direction is supreme. He mounts the film on a grand scale and moreover, he treats the principal characters with aplomb. They look real and people will relate to them or would know somebody in their circle who's like Kunal, Diya or Ally. The film often goes in a zone which might come across as bizarre. But Homi treats it just right and hence, one flows along with the developments in the story. Any other writer or director would have preferred to add scenes of characters fighting or confronting each other. Homi avoids the path completely, adding quirk to such scenes, and it comes across as a breath of fresh air. At the same time, the film is not shallow and a few emotional scenes tug at the viewers' heartstrings.

Dhamaal 4 movie music and other technical aspects: There's only one song in the narrative, 'Saree', and its foot-tapping.

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