Shuddh Desi Romance loses steam in the second half — it’s almost as if, suddenly, Manish and Jaideep didn’t know where to take their story and characters. Also, I’m old school, so the ending left me dissatisfied. But that doesn’t take away from what has been accomplished here. This film is a dose of adrenalin.

We’re The Millers is the cinematic equivalent of fast food – formulaic, disposable entertainment that will keep you busy, even make you laugh out loud but leave no trace once it’s over.

If good intentions were enough to make good movies, Satyagraha would be a masterpiece. Prakash Jha is one of the few directors in Bollywood who has consistently championed political cinema. His rage at the rotten state of the system has simmered through his movies for nearly three decades. But from the National Award-winning Damul in 1984 to Satyagraha, his stories have become increasingly simplistic, star-driven and heavy-handed.

Earlier this year, when I watched The Host, I thought this is so bad that it makes The Twilight series look like The Godfather. Well, as it turns out we weren’t at the bottom of the barrel yet. The Mortal Instruments: City of Bones is so bad that it makes The Host look like high art.

Steve Jobs was brilliant, mercurial, arrogant, petty and manipulative. In short, everything you need for a great drama. Instead what director Joshua Michael Stern and writer Matt Whiteley give us is a comatose narrative filled with clunky dialogues that traces Jobs’ journey from his start-up days in a garage to Apple becoming the most valuable company in the world.

Planes, a spin-off from Disney Pixar’s Cars, is a genial but painfully familiar story of an underdog who chases his dreams, overcomes his fears and comes out a winner. It was originally meant to be a direct to DVD film. I think it’s wise to just wait for the DVD.

Madras Cafe is flawed but also ambitious and brave. I’m going with three stars and recommending that you see it.

The beauty is that underneath the swagger, Akshay also locates the loneliness and heartache of a monster hobbled by love. Honestly, I can’t remember the last time I enjoyed watching him this much.

So it breaks my heart to tell you that Chennai Express left me cold. This hyper, eager-to-please Rahul sorely tested my patience. And after a while, the innumerable references to DDLJ seemed like a lazy shot at siphoning some of the enduring affection we have for that film.

B.A. Pass holds your interest as long as Bahl sticks to Sikka’s darkly twisted story. But each time he diverges — including his choice of the film’s cheesy name (Sikka’s story is titled The Railway Aunty) — the narrative wobbles.