David Chute

The film could easily be a half-hour shorter; shot in a loose, handheld style that involved some improvisation, it feels unfocused and repetitive at times, to the point of aimlessness.

It makes the regeneration of an overweight and complacent commercial format look easy.

Ethnically barbed hijinks ought to ensue, but jinks of any sort are in short supply, due to drowsy pacing and a string of distracting staging mistakes that suffocate just about every gag.

The film has been skillfully realized as a commercial entertainment on a huge scale, and it is often surprisingly beautiful.

There’s nothing easier to like than a tear-jerking, action-packed melodrama that knows no shame. But a minimal amount of skill and sensitivity are required.

Dedh Ishqiya ends on a note of sadder-but-wiser resignation that recalls its predecessor, but its high romantic cultural allusions convey a deeper sense of what’s at stake.

It’s a tale that was once thrilling, but the thrills seem to have evaporated.

As a narrative, “Evangelion 3.0″ may make you feel your brain is turning into goat cheese. As a showcase for pure visual ingenuity and splendor, though, it rocks.

At their best, the lush yet punchy musical numbers that Acharya stages for Dhoom: 3 reach giddy heights of pop romanticism.

The Whoopee Cushion hijinks here are punctuated with incongruous outbursts of bloody violence.