Even though not free of shortcomings, Highway is Imtiaz Ali’s most honest, personal film and, hopefully, the beginning of a chapter in his career that will be dictated more by craft and intention and less by commerce and entertainment.

Long silences punctuate conversations, shots of staggeringly beautiful locations linger, the pace remains unhurried, and actors surrender to their characters – these are elements you yearn to experience in a mainstream movie, and the film takes you there.

It’s heart-warming, funny and enjoyable. And it touches a chord. What really makes the film work is that its tone is entirely original – a part of which comes from the writing, and the other from the way it’s executed – and which remains consistent through the film.

It’s a sure-footed, even if slightly indulgent, debut – one that establishes an individual style that makes Ahluwalia’s future as a filmmaker an exciting prospect.

It’s dark, sardonic and funny. Don’t miss 2014’s first great Hindi film.

The actors lift up the written material. Naseeruddin Shah and Arshad Warsi carry forward some of the fantastic chemistry they displayed in Ishqiya, both playing off each other’s strengths. Madhuri Dixit-Nene fits into the role of a nawabi begum like a hand to glove.

The money seems well-spent: the action set-pieces are decently staged (barring some exceptions, like Khan running down a building in slo-mo, which looks super-tacky), the film is largely well shot, and there are enough twists-and-turns (okay, one major twist) to keep you interested in the story.

…after Saawariya and Guzaarish, this film marks Bhansali’s return to form. Ram-Leela establishes that Bhansali’s best comes out when he’s free of ostentatious pursuits and left to narrate a story with vigour, like he did with Hum Dil De Chuke Sanam earlier. It’s only half the battle, though. Next time, hopefully, the script too will match up to the director’s grandiose vision.

Watch Shahid for its indie charm and a fantastic performance by Raj Kumar.

The Lunchbox is an exceptional film, a rare gem that arrives only once in a few years. Miss it only if you are allergic to all things awesome.

Special 26 demands the viewer to suspend disbelief greatly, especially towards the end, but it does so without ever taking him for granted. Pandey ensures the expectation we pinned on him after A Wednesday isn’t misplaced with a simple mantra: Asli power script main hoti hai.

Table No 21 may not be the perfect start to 2013 we were looking for, but it’s a well-paced thriller with some highs and quite a few lows, and it’s never boring.