Advait Chandan’s film is a thoroughly rewarding cinematic experience, sweet and thought-provoking in equal measure. It is simple, but not simplistic (barring the ease with which a non-entity like Insia becomes high-profile almost overnight on the worldwide web and the fact that she appears to escape Internet trolls who in reality would viciously attack such a kid because of her gender and her Muslim identity). Aamir’s presence has given it pre-release visibility, but what gives it staying power through its running time is the strength of its storytelling and conviction.

It is pleasant in parts, pretty almost throughout, and the cast is charming. In the absence of heft and a commitment to its genre though, it remains an ineffectual film. Saif  Ali Khan, who I believe is one of Hindi cinema’s most underrated actors, needs to choose better.

Footnote: The Censor Board asked Dhawan to remove a shot of Lord Krishna dancing and playing the saxophone in the song Suno Ganpati BappaMorya. It is clear from their directive that they have not understood the ABC of the playful down-to-earthness that is the hallmark of Hindu mythology.

The cleverness of Masurkar’s film is that it is designed to appeal to audiences beyond the already converted and beyond the artistically inclined fest circuit.

Simran has come to theatres following an ugly controversy over its writing credits. The final rolls read: story, screenplay and dialogues — Apurva Asrani, additional story and dialogues — Kangana Ranaut. The truth about what went on behind the scenes may never be fully revealed, but what has emerged now that the curtains have been drawn aside is a compact, sweet, unconventional entertainer.

Shubh Mangal Saavdhan then is a super-fun till it gets superficial. It is, to borrow the tagline of another film now in theatres, sundar, susheel and risky in its first half, flails about in the second, but remains entertaining overall. Handle it with care and alertness.

Babumoshai Bandookbaaz, flawed though it is, comes as manna to a starving film buff in what must certainly be the worst year for Bollywood in the decade so far. It could have been better, of course, but it is fun enough to be forgiven its follies and indulgences.

Jab Harry Met Sejal is occasionally funny, but not half as funny or cute or ruminative as it clearly thinks it is. Hats off to Shah Rukh Khan and Anushka Sharma for managing to raise the Centigrades in this otherwise pakau disaster.

To say that Indu Sarkar is better than Heroine and Calendar Girls is hardly a compliment to the man who made Chandni Bar and Page 3.

It’s clear why Censors were unnerved by this brave, fun film…Lipstick Under My Burkha could potentially upset many, many people. It has the ability to grab a person by the collar, shake them up and make them feel unsettled even if they refuse to introspect. I am willing to bet that Pahlaj Nihalani’s Censor Board will not be the last conservatives unnerved by this feisty, disturbing yet celebratory film.