The unfortunate part of Sonu Ke Titu Ki Sweety is that in small patches – especially in a scene in which Ishita Raj’s character Pihu is re-acquainted with Titu’s family – it shows a penchant for humour and good timing. Mostly though, this is a tacky, trite recycling of a recipe that has brought box-office success twice to this director. Why bother writing an original script when a photocopy machine is at hand?

Aiyaary’s first hour is engaging because it gives us reason to assume that great twists and turns will unfold at any moment. That promise is unfulfilled in the remaining 100 minutes of the film. Pace and bluster cannot compensate for lack of substance. This wannabe James Bond flick is nothing but a blast of hot air.

It is hard to believe that a film directed by the writer of Delhi Belly is, for the most part, a drag. Despite Saif Ali Khan being in cracking form, Kaalakaandi lacks fizz and purpose.

Make a film around Sharma/Chuchcha, if you wish, Mr Lamba. If you do intend to bring back the rest of Team Fukrey in a third venture though, please remember not to neglect them as you have done in this one. The consequence of that neglect is that Fukrey Returns is funny but its gnawing hollowness is impossible to ignore. It may as well have been a stand-up comedy show headlined by Varun Sharma instead of a film.

Devashish Makhija, who earlier made the feature film Oonga, earned the spotlight just last year when Taandav, his interesting short featuring Manoj Bajpayee, went viral on Youtube. Ajji and Manda’s relationship, Sushama Deshpande’s striking face and screen presence, and young Sharvani Suryavanshi’s natural acting are no doubt worthy of a full-fledged film. Ajji, as it stands now though, is well begun but just half done.

Vidya Balan and Manav Kaul are wonderful in Tumhari Sulu. And despite its exasperating folly as it draws to a close, Tumhari Sulu is a throat-achingly, side-splittingly hysterical entertainer.

Qarib Qarib Singlle (QQS) is fun in bits and pieces mostly in the first half, but conflicted about what it wants to say and, therefore, tedious beyond a point. Parvathy — one of Mollywood’s most respected artistes, who has just notched up a triumph in Take Off this year — makes her Bollywood debut with this film. Individually, she and Irrfan are sweet in QQS. Sadly, that is not enough.

Ittefaq may not be perfect, but it is clever enough. Bollywood rarely does thrillers well. This one is not brilliant, but it is fun while it lasts.

Jia Aur Jia’s saving grace is that it resurrects Jiya o jiya, the title song of the Asha Parekh-Dev Anand classic Jab Pyar Kisise Hota Hai, for its background score. The music makes the opening scenes memorable, but when the entire remix of the song is sung along with the closing credits, the effect is completely ruined: Nisschal Zaveri’s Jiya o jiya reprise – performed by Jyotica Tangri and Rashid Ali – is flat in comparison with the original. Jia Aur Jia is flat, full stop.

ia Aur Jia’s saving grace is that it resurrects Jiya o jiya, the title song of the Asha Parekh-Dev Anand classic Jab Pyar Kisise Hota Hai, for its background score. The music makes the opening scenes memorable, but when the entire remix of the song is sung along with the closing credits, the effect is completely ruined: Nisschal Zaveri’s Jiya o jiya reprise – performed by Jyotica Tangri and Rashid Ali – is flat in comparison with the original. Jia Aur Jia is flat, full stop.