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Kahaani 2 review: What a welcome addition to the legion of films toasting heroic mothers!

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Kahaani 2 review: Sujoy Ghosh's Kahaani franchise promises twists and lo and behold, Kahaani 2 delivers them aplenty at a thrillingly racy pace, making the film a compelling watch.

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Dear Zindagi review: Writer-director Gauri Shinde’s Dear Zindagi is laudable, as with a slight shrug of the shoulders, much like its character Kaira, the film dismisses the baggage that comes with consulting a shrink.

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Gauri Shinde's Dear Zindagi is a youth-centric cathartic film which gives you a glimpse of how they deal with life, relationships and the issues that bog them down. Perhaps, it is only the youth who will relate to - the heartaches, seeking their dream job, problems with parents, et al.

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Money is the hottest topic in the Indian scenario today, and Moh Maya Money, a "white collar crime" drama, adds to the mass hysteria of the moment. But unfortunately, the hype of the film has nothing to do with the prevailing situation in the country. Instead, focussing on a couple in a dysfunctional relationship, it is a tale of greed and the age-old truth that crime does not pay.

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Tum Bin 2 review: Had the potential of being a love story that could warm the cockles of your heart, but somehow this one does not, despite the strong performances by Aditya Seal and Neha Sharma.

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Force 2 review: Directed by Abhinay Deo, Force 2 is a sequel of the 2011 released Force, but unlike its prequel which was the remake of a South Indian film, this one is an original but staid, action-packed, bleak revenge story that is generic in nature.

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Set in Dongri, the underbelly of Mumbai, Dongri Ka Raja is a tragic love story of a sharpshooter working for an underworld don. In the backdrop of the Ganpati celebrations, Raja (Gashmeer Mahajani), an orphan who is brought up by an underworld don Mansoor Ali (Ronit Roy), meets Shruti Prabhu (Reecha Sinha) and they fall head over heels in love with each other.

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There is a life-defining sequence in the early part of this stylishly-cut film where the excellent Shashank Arora, playing a young struggling musician -- a sarod player in this day and age -- if you must know, pleads with the supremely accomplished Kumud Mishra playing a rigid musician, for a hearing. A request that falls on deaf ears because Guruji is a purist who believes music must not be tampered with to create a contemporary sound.

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Let's get this straight. Karan Johar wants his films to look beautiful. He works towards gleaming, polishing and grooming his locations and actors as though he were building a Taj Mahal for the Gen-Y to rest its reposeful romanticism.

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