There is almost too much plot, and yet it isn’t gripping. Key plot points pop up and then randomly disappear. The climactic sequence has power and poetry, but it feels like too little too late. Bombay Velvet had the potential to be the definitive Mumbai noir. But the centre does not hold.

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.

For me, the final straw was Gabbar’s last speech, in which he exhorts the youth to stand up against corruption and says that his mission was inspired by the teachings of Swami Vivekananda. It hit the sweet spot between outrageous and spectacularly dumb.

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.

Hunterrr runs for 141 minutes and feels even longer. That’s just way too much time to spend on the life and emotions of a lech.

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.

Vikramjit strains to create a moody, artistic angst. But it’s impossible to take any of it seriously. The film’s credits read: Ranbir Kapoor in a dynamic role. Even an actor as exciting as him doesn’t possess the dynamism to lift this train-wreck.

Daanish and Amitabh are well-enacted, strong characters. Shamitabh is a lovingly crafted film that doesn’t quite pan out. Which is a shame, because there is much to savour here.

Vibhu has designed Hawaizaada to be an all-purpose vehicle that has romance, comedy and drama . But the writing is flat and the telling, clumsy. Ayushmann, who is in nearly every frame, trembles with fervour. Mithun matches him. The respite here is Pallavi Sharda, who lifts this film.