Back in 1975, a timid Amol Palekar took love lessons from Ashok Kumar for asserting himself and his ardour for Vidya Sinha in Basu Chatterjee’s Chhoti Si Baat. In 2003 an angelic Shah Rukh Khan walked in slow motion into the frame, flashed his dimples, spread his arms and brought colour to the dreary life of Preity Zinta in Nikhil Advani’s Kal Ho Naa Ho. Now, in Gauri Shinde’s Dear Zindagi it’s SRK again, as Dr Jehangir Khan, sorting out the mess of relationships for Kaira (Aalia Bhatt). Only Shinde spells things out with the much dreaded T word — therapy — which many of us, like Kaira, may require desperately in the urban loneliness and breakdowns we are caught in but are hesitant to seek out because of the dread of being labelled crazy.

At one level then film feels like a mass therapy session in which the audience could find itself getting co-opted and put on the couch. The reaction to it then would be dependant on an individual’s own life experiences. Facile, superficial like those Paulo Coelho-inspired self-help books? Yes, most certainly. A good cry, wet smiles and catharsis of the bitter-sweet kind for others? Equally valid.The dialogue rarely feels natural and mostly spirals out of control to triteness. Lines like how every broken thing can be mended (really!), how one should not let the past blackmail the present to ruin a beautiful future (oh so long-winded!) and how we choose a more difficult path even when an easier option is available (is it?). At times though the writing seems well stitched to SRK’s own sense of humour. Like when Kaira confesses about life being an interminable musical in so far as the new singer guy in her life is concerned, SRK’s Dr Khan is quick to retort with a good humoured jibe: “Aur tumhein to dialogue pasand hain (You like dialogues)”. Or when he himself says “we are all our own teachers in the school of life” and then comes back with “ye kuchh zyada heavy ho gaya (it’s too heavy-handed)”.

Things linger on too long, the filmi “Dona Maria” closure feels tacky as well as a tad predictable. Also, there are way too many causes that Shinde wants to tick—housing issues for single women in cities, the industry being more accepting of gays (even while cracking the mandatory joke about them), about the need to acknowledge varied career options than just an office job. Genuine, significant issues but they stick out than get well integrated in the story-telling, mere nods than something to be engaged with in depth.

A lot of things have been said about this fantastic movie, and I only hope to add a few more praises.

The fact that it was written by Ben and Matt was a shock to me, I did not expect any strong writing and a solid script, but boy was I wrong. The movie lasts for 2 hours,and every minute of it I couldn't even focus on anything beside the incredible world of Will Hunting.

Matt plays Will Hunting, who is a brilliant young man who denies his unreal intellect. Will has had a very abusive childhood which hurt him mentally to a point where he can no longer let anyone close to him aside from his best friend who is played by Ben. That is until a professor at one of the top colleges finds Will's talent and helps him out of trouble with the law. Robin Williams later comes in as a therapist to Will, he is the only one who can really stand up to Will's intellect and manages to break the layer of distrust that Will has developed over years of solitude, and the two develop a bond beyond friendship.

Yes there is a girl, but this is not a romantic movie. There is more to life then what we are taught and what we have to show for it.

The writing is witty, brilliant and hilarious at times, both Matt and Robin Williams preform wonderfully from both a comedic and theatrical prospective. Matt's best work since Dogma and Williams best along side Dead Poet's Society.

If your looking for a typical Hollywood movie with a Hollywood ending, then do not bother spending two hours on this movie. # #bestOfDrama #

In my opinion it was a good master piece movie in vetrimaran career.vadachennai shows a bloody and raw movie that shows the real life of a South Chennai people's and area.The character Dhanush plays in Vada Chennai is epic — though he’s a more reluctant hero. With his outstanding cinematographer Velraj, Vetrimaaran unleashes one flamboyant scene after another. This is a dark film, and the visuals give the impression of being shot in natural light. There are lots of blacks in the jail scenes, and even the outdoor scenes suggest some kind of cloud cover.so overall the movie shows the real life of an people who was in the dark side of Chennai and the success of this movie is it really connect with the vadachennai people's.Even the cons of the movie is lot of bad words usen so lot of audience make a acward while speaking bad words in lot of frames.so overall it's a very super movie and after VIP dhanush shows that I am a really good performer my career will speaks this movie even lot of disaster will came after this. Overall very Satisfying Gangster Saga That (Mostly) Becomes The Epic It Strives To Be.

The screenplay by Eric Roth has the complexity of modern fiction, not the formulas of modern movie.Its hero, played by Tom Hanks, is a thoroughly decent man with an IQ of 75, who manages between the 1950s and the 1980s to become involved in every major event in American history. And he survives them all with only honesty and niceness as his shields.And yet this is not a heartwarming story about a mentally retarded man. That cubbyhole is much too small and limiting for Forrest Gump.