This is an overblown, old-fashioned, feelgood film. But I recommend that you surrender, and keep a hanky handy.

What doesn’t work so well is the pacing in the first half. The set-up takes too long. A voiceover, amusing at first, starts to grate because it’s over-used. I also wished that the depth in the writing had extended to the characters of Ranveer Singh and Anushka Sharma. Both are charismatic, capable actors, but their parts are under-written. So be prepared to get restless in the first hour, but once Dil Dhadakne Do gathers momentum, it will force you to care about this frustrating, flawed family.

The strong writing is complimented by equally strong performances. Deepak Dobriyal is wonderful as the hapless, permanently rejected Pappi. However, Tanu Weds Manu Returns rests on Kangana’s shoulders and she carries it with her Herculean talent. Parts of the film are over-stretched and clunky — especially the climax. But if you can get past the over-blown drama, this film is a treat. I left the theatre thinking about Kusum. She is so terrific that she overshadows the bumps in the film.

Piku speaks its truth with simplicity and heart. It made me laugh and cry. And I can get behind any Hindi film in which a father says of his single daughter: “She’s financially independent, sexually independent.” Bravo.

This film is guaranteed to make you cry. But it will also fill you with hope. These amazing women will make you want to inhale life with a new ferociousness.

Navdeep keeps you at the edge of your seat. The supporting cast — Neil, Deepti Naval and especially Darshan Kumaar — is solid. But ultimately, NH10 rests on the able shoulders of Anushka, who doesn’t hit a false note. Her transformation from confident city girl to shattered victim and eventually avenging angel is entirely convincing. The almost-silent climax is brilliant. Meera’s face — defiant, pitiless and unafraid — stayed with me.

Go, see NH 10.

The supporting players — from Huma to Kumud Mishra — are terrific. But ultimately, Badlapur rests on the towering talent of Nawazuddin.

It is a testament to Neeraj’s skill that despite these flaws, he’s created a film that has drama and moments in which you clap and cheer. I especially enjoyed watching Taapsee Pannu, who plays a female agent, kicking serious butt. There are glimmers of genuine insight — early in the film, the head of Baby (a suitably grim Danny Denzongpa) says that the fact that terror groups now have Indian recruits reveals a failure of the state. But Neeraj chooses not to pursue that thorny narrative thread. Instead, we stay with the far more palatable and heroic tale of a few good men and one woman ready to sacrifice their lives for their country.

Kil Dil doesn’t have weight or enduring value. But while it lasts, Shaad makes sure you’re having a good time.

At the heart of Haider is the love between a passionate, complex woman who seeks a sliver of happiness amidst overwhelming circumstances, and her son, who both loves her with an unnatural intensity and hates her for her betrayal of his father. Vishal handles the Oedipal undertones with exquisite daring and understanding. This relationship powers the film. Haider must be seen for this alone.