Dhoni’s biopic is an exercise in eulogising the cricketer, telling people how great this man is. Over a span of more than three hours, the greatness of Dhoni plays in front of you.

The problem with Rustom lies in its twists too. You can put your finger on them much before the twists actually play out in front of you, something which is fatal for a ‘crime thriller’. Rustom plays to the gallery, eliciting cheers and applause from the audience who want to see their hero reinstated as a hero.

…despite its decent-enough story, doesn’t quite make a mark on the mind. The film is a crowd-pleaser, especially when Saare Jahan Se Achha plays in the background and you need to deal with the goosebumps.

Raman Raghav 2.0 is another triumph for Anurag Kashyap. It sure is not a Gangs of Wasseypur, but the filmmaker knows what to do with his viewers. Shocking people, disturbing them, stirring them come naturally to this man as killing comes to Ramanna. Watch the film. ‘Sa-prem’!

TE3N, however, is no Kahaani. It is at best a hotchpotch of a film that could have been so much better. Watch it though. For the brilliant acting.

In all, this Tony D’Souza film works solely because of Emraan Hashmi. The actor pours in his heart and soul into playing Azhar, being Azhar.

In all, understanding exactly what goes on in the mind of an obsessed fan or a troubled superstar is not easy. ‘How can someone do this for a star?’ is a question that has plagued a lot of us at several points in our lives. Maneesh Sharma and Shah Rukh Khan hand-deliver that mindscape – of both the fan and the star – on the screen. And brilliantly.

Jon Favreau’s live-action re-imagining of the 1967 film, The Jungle Book, is a visual treat. Along with Neel Sethi’s Mowgli and a superb voice-cast, this adaptation of Rudyard Kipling’s Jungle Book is a winner on many fronts.

At its core, John Abraham’s Rocky Handsome is a tale of emotion and action. And it is in the action part that this Nishikant Kamat-directed film shines.

…underneath all the brilliance of Kapoor And Sons, there lies the problem of the quick-fix solution. Half of Batra’s film is a lesson in embracing the imperfections and searching for a proper solution to them. Therefore, when the story uses that very hasty, knee-jerk climax to get things in place, it comes across as a betrayal.