Despite the hows and whys a Wes Anderson film will inevitably fling in your general direction, you do tend to overlook these things. Why? Because as human (flaws and all) as it is, it is also quite fantastical. And you do want to be transported to a time or place like that. If even for a little under two hours. Go for it!

Definitely watch this one for Andy Serkis. And because — cheesy as it may sound — when the end credits roll, you realise that it’s not the destination that mattered, it’s the journey this film took you on. You rarely get to say that about sequels these days. Bring on the next one!

It’s not a bad film. Far from that. It is actually quite enjoyable when watched for its own merits and with the entire family. It’s endearing in parts. But compare it to Monsters Inc, and it falls quite short on charm.

The girl-on-girl fight scenes are actually more kick-ass than the ones with the guys. The new characters impress. That being said, this one’s purely for fans of the franchise and action junkies alike.

A fresh, fun and mostly footloose feature, you wish there was more to the story than just a race ‘into the light’. The premise’s inherent simplicity is just as easily its only undoing.

The film could’ve been much shorter. Clocking in at close to three hours, the film’s premise is based on a series of events that spanned close to a decade, but the suspense is built, almost in real time, on slow-burn. It gives you the feeling of being there ‘as it happens’. That’s not always something your audience wants.

Debutant director Maneesh Sharma brings Delhi alive like few filmmakers have in recent years. His confidence with his craft shows. The script is mostly fluid with the rare weak moments but what really holds up the two-hour flick are its lead pair. For someone who’s two films old (Anushka) and a debutant (Ranveer) to entertain with josh and a fervent energy without a single big name in any frame calls for appreciation.

Mokashi’s feel-good film tells you about the man behind the famous name. Of how he fought social ostracisation and ridicule for wanting to follow the simplest, most (seemingly) ludicrous dreams. Mokashi might well be compared (and the comparisons will be a tad too early) to Roberto Benigni. And it really doesn’t matter if this film never made it to the Oscar shortlist. Harishchandrachi Factory is a winner from the first reel itself. And long after you’ve left the theatre too.