It’s pitiful, because even absurd storylines make for entertaining films if made with an ounce of cleverness and a little integrity. This is purely a rush job, one that – as it happens to the sleeper cells eventually – will turn you into a “coma cell”. And lead to such bizarre lines being written.

Purely as a film that explores the connection between immigration and crime – and for its ability to come together beautifully as a collaborative effort – City Lights is a fascinating watch.

Where the film fails spectacularly is in its inability to come together as either an unapologetic camp-fest or serious murder mystery, trying to walk the fine line unsuccessfully. As a movie set against the backdrop of the Hindi film industry, it’s neither outrageous (Om Shaanti Om), nor sardonic (Luck By Chance), and definitely not cheesy enough (The Dirty Picture).

There’s so much goodness, so much warmth and such honesty in Hawaa Hawaai’s intentions, it’s hard to not have your heart melt. Chances are, the film will also make you want to put on those rolling skates, even though at the risk of landing you hard on your behind or – as Gochi calls it – “naram naram bun pav”.

Kabir’s first effort as filmmaker has a couple of redeeming qualities – he shows a flair for dialogues and makes good use of Sanjeev Srivastava’s music – but ends up biting off a lot more than he can chew in a film that can be best described as wannabe-Gangs of Wasseypur-meets-wannnabe-Kill Bill.

The film is a searing satire, where fantasy and humour mingle with stark reality

A tedious second half apart, the well-timed political satire has its moments.

Breezy at best and hilarious in parts, Main Tera Hero is a trip down memory lane, where the original king of comedy – I mean David Dhawan here – regains some of his touch. Let’s go the whole hog next time, Mr Dhawan.

O Teri is the rare film where the script, direction, acting and all other departments fail spectacularly. When an actor as good as Vijay Raaz grates on your nerves, you know it’s a disaster.

With Lakshmi, Kukunoor goes the whole hog, opting for a raw, jagged style of storytelling, losing some of the finesse you associated with some of his earlier films like Teen Deewarein and Iqbal. It’s a tightrope walk for a director, depicting harsh realities as authentically as possible, but hoping they don’t seem obtuse. He slips at places, but largely pulls off the job, helped along by a motivated ensemble of actors and by infusing the film with honest, hard-hitting moments.