There was actually more suspense in Frank Hoogerbeets’ prophecy about a 9.8 earthquake in California, which went viral yesterday. “Have an escape plan ready,” Hoogerbeets advised in his video — just as Giamatti’s Hayes does in the film — and it’s not a bad idea if you’ve bought tickets for San Andreas.

You don’t want to go on this ride, even if it is with George Clooney…Tomorrowland looks like an newly-rented apartment that is yet to be furnished. Supposedly created by the most brilliant, there’s no sign of genius or idiosyncrasy in the characterless and charmless cityscape. It looks like a facade that has nothing beyond it.

… for all the magic that is Ranaut, Tanu Weds Manu Returns is a blathering mess. It’s as lazy as most of bad Bollywood. Resting upon Ranaut’s talent and appeal, Rai and Sharma figure they need nothing more than picturise a few catchy songs. Why bother with a story that actually makes sense? There’s no need. Keep it stupid, put in a few pro-woman slogans because that’s what sells these days, and let Ranaut’s popularity do the rest.

With Mad Max: Fury Road, Miller shows that if done right, even the most crassly commercial of genres can be powerful, idealistic and cinematic. Action can be nuanced without losing its fun elements. Sure, it might take 30 years to come together, but by George, Miller’s done it.

Ultimately, Bombay Velvet is a thoroughly disappointing and frustrating film. There are some powerful ideas that have been lain to waste here, like the journalistic rivalry between Khambatta and Mistry, the subtle insertion and acceptance of a certain kind of criminal into ‘polite’ society, and the impact of violence on a person’s worldview. This should have been a film that seduced us with its beauty and then savaged us cruelly. Instead, we’re victims of a lavish boredom. By the time the last bullet is fired, all you can feel is relief that Bombay Velvet is over.

A quintessential superhero movie that begins with a bang and ends with a boom…For all its bittersweetness, there’s a lot of fun to be had in Age of Ultron.

Kalki Koechlin is brilliant in this flawed yet heartfelt film… Ultimately, Margarita With A Straw is a film with a lot of heart and a powerful performance from Koechlin, but you can’t help feeling that Laila deserved better.

In many ways, its aesthetics and idealism make Court feel reminiscent of Indian parallel cinema of the 1970s. However, Tamhane’s storytelling is distinctively contemporary and he’s careful to ensure Court doesn’t become preachy, self-indulgent or slow (standard problems that make so many Indian parallel film classics seem dated today). Perhaps one of the more depressing aspects of placing Court in the chronology of Indian cinema is realising that Tamhane’s film belongs to a tradition of cinematic dissent that couldn’t pierce our apathy as a society.

Dharam Sankat Mein has many, many flaws, not the least of which are incredible plot twists (particularly at the end) and the ghastly performances delivered by the actors playing Dharam’s wife and son. While it keeps the audience hooked until interval, the second half of the film meanders into listlessness and struggles to keep up the energetic pace it had initially.

At the end of Detective Byomkesh Bakshy, Banerjee dangles the possibility of a sequel, which is an uplifting thought. It would be wonderful to return to the world that Banerjee created and perhaps the next time round, there won’t be the flaws that pockmark this film. Stylish, beautiful, but also underwhelming…