"Of course, it’s a small matter that Ranbir Kapoor’s nuanced performance was one of the most extraordinary portrayals of a leading character well in touch with his feminine side. Look at the film again — look at his babydoll dance; his bag when he’s at the airport (d.. moreid anyone even notice?); his gait at Alizeh’s wedding; the mehendi on his hands; his pretending to be a bride; his easy tears; his non-embrace of a macho indifference in the face of tumult. Karan Johar’s obvious influence is strong here, but it’s easy to miss when you’re looking for ways to rip apart a Bollywood love fantasy. In fact, it has been reduced to characterising Ayan as a man-child. Five years ago we would have said 'kitna rota hai, ladki ke jaise'. Irony?"
"The way we speak in real life, that’s conversation. The way people in a certain kind of movie speak, that’s dialogue. Both kinds of exchange are present in Karan Johar’s Ae Dil Hai Mushil. The film opens with a gun-to-the-head dedication to the army that doesn’t fee.. morel all that misplaced. Romance, after all, is its own kind of war. Borders are breached. The heart mounts a defence. There’s the scoping out of territory, which is what the Urdu-couplet-spouting poet Saba does with wounded-in-love Ayan."
"Ae Dil Hai Mushkil is by far Karan Johar's best film to date: mature, sure-handed and thoroughly entertaining. It employs the devices of mainstream Bollywood, but does so with an acute awareness of exactly where to draw the line so as not to stray into overt bubblegum territory. "
"You usually come away from a Karan Johar movie dreaming of singing sweet tunes in the Alps; but ADHM makes you realize just how cold it is, up there. Go watch it for a relatable portrayal of modern-day relationships."