Rohit Shetty proved his knack for comedy with his previous work. With this film, it seems something has gone terribly wrong. Within the first few minutes of the film, you try to convince yourself that the movie might actually be good and the boring jokes are actually funny. But how long can you lie to yourself?

Golmaal Returns is about a husband named Gopal (Ajay Devgan) who has a very suspicious and soap-opera-loving wife Ekta (Kareena Kapoor). One day, when Gopal saves the sexy Meera (Celina Jaitly) from thugs, he lands into a yacht. There, he is forced to spend an entire night in the woman’s company. Upon returning home his wife is convinced he’s cheated on her and therefore Gopal makes up a lie that he was with a friend named ‘Anthony Gonsalves’. Yeah…you heard me right.

Ekta wants to meet this Anthony so Gopal asks his work colleague Laxman (Shreyas Talpade) to pretend to be this make-believe man. Meanwhile, a corpse is found at the site Gopal was last at after his disastrous night. The police officer, Madhav (Arshad Warsi), who despises Gopal and is also his sister Esha’s (Amrita Arora) boyfriend, finds out Gopal wasn’t home that night. He begins to get suspicious and believes Gopal was involved with the murder.

In the midst of all this, the real Anthony Gonsalves shows up. Ta-da!

For lack of a better word, the script is downright lame. It is tasteless and stupid! What more can I say? Who told scriptwriter Yunus Sajawal that this can actually be a movie? Apparently Rohit Shetty, the director. Honesty, what was he thinking when he okayed such a script? Forget about the script for a while and just look at the entire film. It has nothing going for it! Songs pop up in the most random places, actresses are wearing skimpy clothes in the most unnecessary scenes, and the acting leaves much to be desired.

Golmaal Returns is disappointing, and how!

As mentioned, the acting isn’t too great either. Ajay is so-so and when he attempts comedy it’s like watching a little child trying to be funny but failing miserably. Kareena is good in her role but that’s because hers is the only role written well. It acts itself. Amrita Arora, after a good show in Hello, springs right back down with Golmaal Returns. She’s good in certain areas and those involve her in out-focus! Celena Jaitly seems much too mature for her role and her revealing outfits do nothing for her mediocre acting skills. Shreyas Talpade isn’t a comic actor, yet he is quite good with his role. I think he outshines the entire cast. Then we come to Arshad Warsi who acts bad, period. It’s as if the only director he works well with is, you guessed it, Rajkumar Hirani. Tusshar Kapoor is super annoying in his mute act. You’d think the lad was choking! Anjana Sukhani does worse than even Celina and gets less scope.

One positive point is that the cinematography of this film is good. You enjoy the way the world of Golmaal Returns is picturized, not directed. Art direction sort of meshes with cinematography and so therefore is acceptable. The music of this film is annoying to say the least. It sounds like noise, not music.

Overall, Golmaal Returns is one film you’d be better off not seeing in the theatres. For this so-called ‘Fun Unlimited’ joyride, it’s all thumbs down. The film moves slowly and it’s hardly funny. You’ll be better if you miss this one!

Directed by the not-so-successful director Samir Karnik, Heroes doesn’t have many expectations to live up to. With Samir’s last outing being Nanhe Jaisalmer, I’m pretty sure some of the Salman, Sohail or Preity fans didn’t even bother coming out to see this one.

But guys, Bollywood is all about giving people another chance. So what if Karnik’s previous work fizzled out in the blink of an eye? With Heroes, Karnik has assembled some impressive cast members and interesting plots. Let’s see if his third outing as a director hits the bulls eye or not.

Heroes is a story about two young boys, Ali (Vatsal Sheth) and Sammy (Sohail Khan) who are doing a project for film school. They have been asked to deliver three letters across the nation to the families of the deceased. As these two head out on their little motorbike they have no idea what awaits them.

While the main idea is enticing, does it maintain the same route with the plot? The answer is yes! The plot is just as amazing.

First, we see Balkar Singh (Salman Khan) and Kuljit Kaur (Preity Zinta). They reside in a village, and it is their chapter that launches the story. With a touching and fun-loving story, this part of the film shines the brightest. The chemistry works extraordinarily and the emotions are all heartfelt. Each scene is one you can relate back to because everything seems just so personal. Definitely, an A to chapter one.

As the story progresses, we see Vikram (Sunny Deol) and Dhananjay (Bobby Deol) Shergill’s story. Sunny Deol makes an impressive comeback if you want to call it that and Bobby is alright with his guest appearance. And of course, if you have Sunny in a movie you need have fight sequences! They take us back to the ‘Sunny Era’ when his one punch made the audience roar, clap and whistle. Well, the scenes are also very well executed and might just manage to get the same reaction. This story, although it is on a lower level compared to that of Salman and Preity’s, is just as impacting. Sunny acts well and you get to see an emotional side to him through his character.

The last story is probably the least favourite of mine. Dr. Naqvi (Mithun Chakraborty) and his son Sahil Naqvi (Dino Moreo) are not the strongest link in the chain. Mithun’s acting is good as it always is, but it seems like the whole pace of this story and the reflection of Dino’s overtly exciting lines just mellows everything out. And not in a good way either.

Through these chapters, seeing the ‘Heroes’ of this film, Sohail and Vatsal, is a great experience. They are truly fine actors, especially Sohail. He mixes in comedy, emotions and drama into a lovely blend. Vatsal is the surprise-package as he has been directed well. Salman and Preity steal the show with their experience and acting skills. Sunny and Mithun Da seem to have the uncanny ability to reach out and connect with the audience.

The direction of this film is definitely a bright spot. It seems like Karnik is learning and we should look forward to many more great works from him. The bar has of course been raised by Heroes so Samir must make even better films now. What I also really love about the movie is its art direction and cinematography. They are top-notch and a delight to the eyes. The soundtrack of this film, although not the best by Sajid-Wajid and Monty Sharma, still manages to strike a chord with the background story. It definitely has mass appeal.

Overall, Heroes is a joyride that you don’t want to miss. Take your family and watch this movie. When you come out of the theaters, you will feel like you have been part of a revolutionary experience.

Heroes has everything working for it to become a super hit, and I wouldn’t be surprised if it swept all the awards at the ceremonies. This film is a must see!

The starting of this film is “bang” on with a shirtless and stylish Salman dancing to a zingy number ‘Bang Bang’. As it extends, you start to get a good feeling that hopefully this one will not let you down. Salman Khan character meets a mysterious, beautiful woman, played by Katrina Kaif, who promises him a story on the condition of him continuing it further. Hmmm…interesting. You’re feeling quite good now. You’re actually enjoying it. It isn’t an Abbas-Mustan with a new twist in every fifteen minutes nor is it a Yash Raj with classic fights and dialogues. It is simply an original Atul Agnihotri.

Hello is like a duo-track movie. It’s a story running along within another story. You can’t really come to the main plot because it has many parallel sub-plots.

Shyam’s (Sharman Joshi)girlfriend, Priyanka (Gul Panag), is leaving him because of his flailing career. She herself wants to marry an NRI instead. Touch

A Wednesday! is a story that portrays the great lengths a common man can go to simply for the solitude and peace of mind. It’s a neatly woven tail, capturing apprehension, intensity and drama with a strong grasp. It holds on straight from the beginning and does not let go until the credits start to roll. But even then, its bold subject stays glued to your mind.

Police Commissioner, Prakash Rathod (Anupam Kher) is a headstrong guy who has a ton of willpower. He is put to the test when he receives a threatening phone-call demanding the release of four deadly terrorists. The caller (Naseeuradin Shah), who is anonymous to the characters, gives instructions as to what steps must be followed. The caller’s ambiguous identity stumps the police department who begin to realize that they are dealing with a mastermind. He seems to be a terrorist…but is he really?

Prakash Rathod grows relentless on his mission not to give into this mysterious caller. But after a chain of events, Prakash’s strong stand begins to crumble. Eventually, he decided to give in. At this point in the story, certain events lead to several altering events in quick succession that lead to a strange twist.

As mentioned, the film contains many surprises. Thankfully, they are pleasant ones. To be completely honest, one would expect this film to be a run of the mill flick about terrorism, like so many others we’ve seen recently. But no! A Wednesday! turns out to be the dark horse of the year, speeding at breathtaking mileage that evokes a fury of emotions within the audience. What really shows is the effort that went into this film. From the director all the way to the lighting crew, everything is pitch-perfect. It’s almost as if the entire crew wouldn’t let go of the film until it was looked over several times. Amongst today’s filmmakers, such dedication is really a pleasure to see. If there’s anything that could maybe be improved in the film, it’s the pacing at a few parts. But even this is almost negligible because of the brilliance of the film.

The performances in A Wednesday! truly leave you speechless. It’s hard to sum up performances that are so strikingly real from the entire cast. They lit the screen on fire! Cheesy, but so true.

Anupam Kher has always been an A-lister as far as I’m concerned. Consistently, he has managed to deliver and to deliver big time. But with A Wednesday!, Kher really sped up and beat himself at his own game. I can’t hesitate a beat when saying this is truly his best work till date.

Nasseeuradin Shah is a perfectionist and it always shows. He really gets into the skin of the characters that he portrays, making you see the film from a different point of view. In this film, he has given a performance that is perfection in mind, body and soul. Words fail me when asked to describe this performance. Personally, I believe he deserves the Best Actor award but naturally it will probably go to more popular actors.

As well, Jimmy Shergill is an extremely honest actor who does an amazing job. He has proved himself in all his roles, no matter how good the film is. For this film, he deserves a standing ovation. Even if his role wasn’t as big as the other two characters, he does what he does best and that is compromise. His effort clearly shows through his noteworthy performance.

Every other performance is an electrifying blend of intensity and the art of being suave.

The music of this film, or rather the thrilling beats in the background, are very complimentary toward the bold subject this film revolves around. Kudos to the musicians!

The cinematography is etched with excellence. Topnotch and unprecedented, this one really should collect all those awards – popular or not! Art direction is one aspect that I truly believe in. In A Wednesday!, the art direction is flawless.

Truly, it’s your own loss if you miss this one. Watch it and be enlightened on the many struggles regular human beings face simply as a member of society. A Wednesday! is an honourable film and without hesitation, I am privileged to give it a near-perfect rating.

Vikram (Shiney Ahuja) works in the Chandigarh Airport where he is a maintenance officer. His daughter, Priya is going to board a flight in the airport to Delhi. But unfortunately that flight is hijacked by a bunch of terrorists who are out to save Maqsood (KK Raina), a big-shot gangster arrested by the Indian police. As the flight lands for re-fuelling, the terrorists threaten to kill the hostages on the plane if Maqsood isn’t released.

But wait, there’s another twist! A desperate Vikram ventures on to the plane with the help of air hostess Saira (Esha Deol). Inside, he begins to plot to kill the terrorists and go to any measure to save his daughter, being the doting father that he is.

Doesn’t it sound like we’ve heard this story before? I mean, in a nutshell, it’s really boring. But there are some well-executed sequences and credible ideas. But why can’t filmmakers stop directing stories that have been done before and instead do something completely original? Sigh, I think I ask myself this almost every time I watch a Hindi movie. It’s understandable that with his debut film Kunal Shivdasani would make a few mistakes, especially with an average cast, plot and seemingly zero interest from the producers. But this one was a complete no-show!

There are still glimpses of talent in Shivdasani’s direction though. Perhaps he just made the wrong moves with his first film. Hopefully he will follow the path of filmmakers like Rakeysh Mehra and Imtiaz Ali who made mediocre debut films but eventually made it big.

I’m not sure I even want to talk about the performances! What’s up with Shiney Ahuja and his single expression? The problem is, nothing. At all. He is wooden throughout with zero facial expression. I don’t care to elaborate, his dialogue delivery pretty much says it all.

Esha Deol as the air hostess is decent but she has zero screen presence. Also, she wears a single tense expression throughout the film. But unfortunately at the end of the day a director is also responsible for his or her actor’s performances. Even though he showed some promise, he really needs to work on extracting good performances from his cast.

The cinematography and art direction have almost zero scope in this film. It’s mostly a collection of shooting, scheming or screaming. The music lacks tone completely and songs are completely against the flow of the film. The background score is one bright spot, though.

In its entirety, Hijack is a fair attempt but a mass failure. For improvement, it would need to be re-shot completely with better actors, and most importantly, a better script. Bollywood needs to stop trying to ape Hollywood flicks and continue creating for the Indian audience. There is no passion in this film, and it turns out to be a completely boring film that will neither fit in with the masses or the classes.

Chandrama Singh AKA Chamku is a Naxalite fighter from Bihar who is sent from this clandestine company – a government in themselves – to get rid of rebellious rudiments. He has no other choice other than to complete the mission, but wait… there is a twist. While on his mission, Chamku falls for a beautiful teacher ala Priyanka Chopra. Feeling this strange first love, Chamku wants to be a normal person and lead a normal life. But how can he when his life is a cluttered mess of what do to do and what really should be done? Excerpts from his past are in the film’s progression and Chamku himself is faced with a dilemma when his past – an abhorring, unforgettable time – reemerges into his life.

What I like about this film is that Kaushik has managed to extract one of the best performances from all actors. The viewer forgets that the actors are actually performing and begins to see them as characters on a screen. Not being such an experienced director, Kaushik has surely showed a great load of talent. His cinema has a personal yet massive touch to it. Each scene is depicted with an ugly reality that looks just right. Nothing seems over the top in this film. It’s all balanced and the film shows you true, hardcore and intense drama.

Bobby Deol has given his best performance thus far with Chamku. He knows his role and plays it effortlessly. Each scene with him captivates your attention, and all you want to know is what happens next. Priyanka Chopra looks effervescent and beautiful in the simple-yet-stunning attire. One image that remains with you until the end is the yellow sari look in the song ‘Aaja Milke’. Irfan Khan is, as usual, phenomenal. Rajpal Yadav and Akhilendra Mishra both excel at their given roles. All other actors make do wildly with what little or loads they have.

The music, by the fantastical Saawariya Man, Monty Sharma, is so-so. Of course, ‘Aaja Milke’ is one helluva beautiful song, but it still holds nothing against Sharma’s previous soundtrack. I don’t want to be too hard on it as it does have some immense potential. There is just something about the haunting feel to it.

The first half of this film progresses with each phase described beautifully, and the transgression of characters is also depicted nicely. Director Kabeer Kaushik has a way for showing change and with Chamku he definitely tells us so. The cinematography of this first hour is wonderful, as it is with art direction and background score.

Although the second half slows a bit and at times is muddled, there is still that tug of a good filmmaker. Something about it holds you in place and gives you an angst to see how the characters are going to end up. Also, what’s interesting is how the narration changes with past and present, especially in the style it’s shown. Everything, as I said earlier, has a balance to it. The balance alone makes it a complete motion picture to view and digest.

In a world of nonsensical comedies, Chamku comes as a breath of fresh air. So what if the genre is hard-hitting? So what if some scenes really aren’t family oriented? The film is good. Period. It showcases great talent and from the stretch of the first minute to the end credits, it keeps pace with today’s generation as well as the worldly seniors.

Chamku is actually best in the second half. Whereas the first half has an ease to it, the second half is packed with immense intensity. Now this may not work out too well with other films, but for this one it actually does.

Agreeably, Chamku is a smart film made by a talented director who has the potential to go to great heights if he keeps experimenting. All performances are brilliant, and technically speaking the film is nothing short of a Filmfare. Everything has a natural freeness to it, and the characters and scenes flow beautifully. What’s important is that Chamku keeps your attention so that you stay glued to your seat. The thrill is unending. That is a ton of pleasure for me to say because lately I’ve only had the fortune of reviewing movies I didn’t like. But I can honestly say, Chamku is very… very good.

Akshay Kumar (not ‘Kinng’ Akki, it’s the character’s name!) works as a crime reporter who falls in love with a don’s daughter (Raima Sen). Professionally and personally, his life in the dumps. This, my dear, is our quintessential ‘Loser Numero Uno’. Mr. Joshi (Anupam Kher) is a retired accountant who is at loggerheads with his ungrateful son. He wants to get his son to re-pay every penny that he spent on him. This is Loser Number Two! Loser Number Three is Lumbodar (Rajpal Yadav) who has to bear with his wife and son’s hatred for his job and tiny physique.

These three live in the C-Wing of a small apartment in a poor neighbourhood. Sharing their problems, they find support in each other. But what starts off as a small prank leads to the creation of a gang called ‘C Kkompany’. But unexpectedly, C Kkompany gets bigger and bigger until the three main characters become bewildered.

Tusshar Kapoor as an actor is at his best in C Kkompany. Although his screen presence, or lack of it, doesn’t quite work in his favour…he is learning! Anupam Kher is extremely funny and constantly cracks great jokes. As usual, his acting is good and he performs his role with ease. But the show stealer of the three losers is most definitely Rajpal Yadav. Effortlessly, he can convey comedy and sadness in the same breath. Raima Sen doesn’t have much of a role but she makes her presence felt. Her acting is good and she looks alright as well. Mithun-da as the don is pleasantly good.

But the story is the sore point of this film. I personally feel such a concept could have turned into a great film if the events and thrills were more convincing and less repetitive. Even the direction is really nothing special. As a debut director, Yardi fails to ensure a promising future for himself. Of course, he could surprise us, but as far as C Kkompany is concerned, he isn’t that great. Cinematography is completely average and the film is hardly a visual delight. Even if they were going for a realistic look, it could have been done tastefully.

Simply put, the music is bad! The songs appear in the film like a ‘jack-in-the-box’; they pop up out of nowhere! On top of being a pain to hear, they are picturized too explicitly and expensively. It seems like Yardi spent more money on the songs then the entire film! It’s really sad how filmmakers think near-naked actresses in special appearances (Cough cough…Celina Jaitley!) hold a mass appeal. Besides a few immature people, the audience is much smarter than that.

Despite it’s high points, C Kkompany is just a baseless comedy. The first hour is decent, holding your attention, but the second hour loses you completely. Way below expectations!

The plot revolves around Rajiv (Sudeep) who hires Anshuman (Kenny Desai) and the strange Madhu (Ashwini Kalsekar) for a contract relating to his construction company. Though what he does not know is that they are only cheating him out of his money. When Rajiv comes to know of this fraud, he fires them, humiliating them in front of everyone in a party. The two, especially Madhu, are feverish – they shout and scream and cry before finally leaving Rajiv alone so that he can hire someone else. Running parallel to these events is Rajiv’s atheistic beliefs that probe him to forbid the construction of a temple on his site where a symbol of God was allegedly found.

Through-out this process, the odd husband and wife pair, Anshuman and Madhu, decide to take revenge on Rajiv for his actions. They know how much he loves his daughter Raksha (Ahsaas Channa) and so they agree on torturing him. Using black magic they curse his daughter, wanting to kill her eventually.

So after going through the plot of RGV’s latest, you can tell it isn’t very meaty. It bothers me that our Indian filmmakers can’t get past the ‘kaala jadu’ and ‘drusht aatma’ stuff when making a horror film. Due to this, unfortunately, every horror flick has to be a painfully unbearable experience. But before we go there, we must recognize some great performances from the cast who are not very well-known.

Without a doubt, the film is superb when it comes to acting. As Rajiv, Southern star Sudeep is wonderful. He stays in character throughout and is able to portray the traits of a desperate father very well. Amruta as the mother is also pretty good. She fits her role well and justifies her character’s actions. The best of the lot is child actress Ahsaas Channa who plays the possesed Raksha. She really does have amazing acting skills and doesn’t disappoint even once. Ashwini is fantastic as the erratic and mysteriously frightening Madhu. Each scene with her sends a chill up your spine.

But unfortunately, even great performances can’t save a bad script. Before we get there, I do think RGV’s direction should be noticed. Clearly, he knows the camera and his actors very well. Even though the out-focusing shots had me annoyed after a while, Varma is a fine spine-tingling director.

The art direction of this film is a good attempt to make even the smallest things look freaky. The cinematography is an award-worthy masterstroke, even though the focus constantly changing gets on your nerves. It really provokes the chills that a horror film requires. Even the background score by Bapi-Tutul fits the situations very well.

After I’ve mentioned all this great stuff about the film, you may be wondering why I claim that it was a pain to watch. Simply, it was boring. I can praise the film technically for ages, but at the end of the day I want something to happen in the film that keeps me on the edge of my seat. But nothing did. It was always the same dark corners, heavy make up and overtly loud music. Come on, it’s time someone explored a new angle of horror films rather than resorting to the same old, same old formula.

In a nutshell, Phoonk is amazing – technically speaking! But it falls short of fulfilling the promises it has made for a bone-chilling horror flick. There is nothing unique about the film, even if it does have good art direction and fine performances. Everything is ‘been there, done that’ and nothing stays with you after the film is over. Even the story of someone getting possessed has been done over and over again around the world. Basically, as I said, it’s boring. Ram Gopal Varma has made a great attempt with Phoonk, but unfortunately he fails to go that extra mile.

WHY IT’S SO SPECIAL:
Some romantic gestures are grand. Some are pure. Some just so quick, and some so long. But yet, this one is merely a soft-spoken, simple gesture. It rests placidly on the characters. The atmosphere weighing it with light air is also full of intensity. I believe that if you need inspiration, this is one scene you should turn to. The romance whispering in the raindrops, the soft music, the touch – the feel. The exuberance is all so simple… yet together. So beautiful. So grand. So spine-tingling. I think not only I, but a lot of people would love to know what Karan Johar was thinking when he canned this shot. I mean, clearly, there must have been loads going on. It was a peak. A star in the night sky. And it was shining so bright. With the acting merely led by a soft strength flowing through the undercurrents of this romantic scene. This, by a long shot, is one of the most beautiful romantic gestures I’ve seen. It had been portrayed in so many ways – we remembered Raj Kapoor and Nargis, Aamir and Rani – but SRK-Kajol have completed the immortalization of ‘Dancing In The Rain.’

Aarun (Salman Khan) aka A.P., is a struggling T.V. host. He believes that it is none other than God himself that is making him struggle and he feverently exprseses this opinion. Whenever anything goes wrong–be it his show being cancelled, his sister not being able to get married or losing the girl of his dreams, Alia (Priyanka Chopra) to his more successful co-worker Rakesh (Sohail Khan)–nothing in this guy’s life seems to go right. And whom is responsible? Well, we may not be so sure but Aarun is convinced it’s ‘God’. Shouting, screaming, and blaming only Him.

When matters get out of hand, even God himself has the right to be annoyed and upset! God (Amitabh Bachchan) enters the picture and decides to hand his powers over to Aarun for ten days since he seems to believe he can do a better job of handling the world. The only condition is that Aarun cannot tell anybody! From here on begins Aarun’s story–oops, I mean God! He runs the world his way and is in for a huge shock as things aren’t as easy as they seem.

The first half of this film really drags. There is not a single truly funny moment and nothing is that intriguing. Although Salman’s rantings are quite enjoyable to watch – even he can’t save the sinking boredom taking over your mind. Bruce Almighty didn’t have a single boring moment, which shows that this film failed to capture the essence of the original. In the first half, each actor is very limited except Salman Khan who keeps the film a one-man show. His comedy has an edge and he uses sarcasm well.

Acting wise, Sohail Khan was also strictly alright. There isn’t anything special about his performance, but there isn’t anything bad either. Usually he’s a scene stealer, but this time neither his character nor his performance is appealing.

Other than this, the only person that actually stands out throughout the film is Anupam Kher. Comically, he’s the best part of this boring film. And since I must, I’ll mention Priyanka Chopra who was only good in parts. Just like Sohail Khan, she was just okay.

But the best part of the film is the scene stealer who’s hardly there. It’s really sad that unlike in the original, this character barely gets any scope. Amitabh Bachchan was absolutely great! He’s the only one in the entire film that deserves full marks. Though Big B was fantastic, I wish he had a more prominent role in the film. If he did, perhaps we could call him the saving grace of the film.

Post-interval, after Aarun becomes God, the film keeps up the boring pace. For the first nine days he fixes his life and suddenly on the tenth day he realizes that he hasn’t done anything for the world. So he vows to make things right, even if he only has one day. Of course, this goes completely wrong So he says he will and that too…all in one day. But of course this goes completely wrong. Hastily, Aarun grants wishes to everybody in the world. This backfires when nobody ends up getting what they want.

Truly, this film is a huge downer. Here I was expecting a great comedy like Bruce Almighty, but what I got was rather boring and repetitive. . In addition to ripping off a Hollywood film, one of the main parts of the plot is ripped off from the American TV show titled ‘A Moment of Truth’.

Moving on to lighter matters–the music, which sucks to be totally frank. Putting it simply, the music has no mass appeal and even the best song ‘Tujhe Aqsa Beach’ is filmed poorly.

Technically, the film is average as well. The cinematography doesn’t really provide anything great to look at. Even the scenes with God have poor art direction though something interesting has been attempted. Unfortunately, the result is average.

At the end of the day, a person wants an entertaining movie that is worth their money. Sadly enough, God Tussi Great Ho fails to deliver big time. You can’t even say it was good in parts, because it was bad all around! The film has it’s moments, but in the long run it’s a miserable failure. As a self-confessed Salman Khan fan, it pains me to admit that the film was horrible. But this is the truth–God Tussi Great Ho is a monumental failure.