I could go on and on about all the issues plaguing this film and the subsequent plagues it just might unleash on the world. But I’ll simply end it by paraphrasing what one of your own, Kate Beckinsale, said in the movie Serendipity. The English got bad teeth, bad hair and good children’s movies. You got the short end of the stick lads, you just don’t know it.

Kaalakaandi is a great ride. At an hour and fifty minutes long, the film tells its story effectively and without any side-tracking. Sure, there are some expectations in the second half that are not met – like the sudden excitement when you see Khan in a Birdman-like costume, only to see it lead nowhere – but that would be akin to nitpicking just for the heck of it.

In this entry at least, the spectacle is fuelled by true narrative ambition. Because these 150 minutes aim to give you a Star Wars experience you never knew you wanted. Once you’ve experienced what a great story can do in this universe, settling for anything less is not an option. It’s all on you to send the new trilogy off in style Abrams.

The good people walking in with fresh, unhampered eyes are bound to be entertained by Branagh’s antics and the story itself, whereas weary aficionados of literature and cinema are bound to leave their halls moderately entertained at a version whose existence seems unnecessary.

As the movie does not lend itself to comedy as much, I’ll throw in an observation of my own to send you home thinking if not smiling. Salman Khan still rules Eid and Aamir Khan still rules Christmas but Shahrukh Khan has been ousted from his tentpole Diwali release date. What does this mean?

Annabelle: Creation is a welcome addition to the cinematic universe created by James Wan (director of The Conjuring and Annabelle), not to be missed by horror movie buffs. This horror universe is not far behind the Marvel and DC CUs, complete with origin stories, recurring characters and call backs to real life (keep an eye out for the Raggedy Ann doll, a nod to the true story behind Annabelle) – there are even two post-credit scenes, so don’t be in a hurry to leave once the credits start to roll!

Bahubali: The Conclusion positively glows in comparison to contemporary Indian films. The visuals are awe-inducing, the fights breathtaking, and the film overall jaw-dropping. It’s just that you wish Rajamouli had cared a little less about getting jaws to drop and a little more about getting hearts to beat.

Naam Shabana works because of some wonderful acting by Taapsee Pannu, Akshay Kumar and Anupam Kher, and some breathtaking aerial shots of Vienna, Kuala Lumpur and Mumbai. If you’re a fan of any of the leads, by all means head for the nearest cinema screening this one. And if you leave dejected by the entirety of it, well, you were warned.

Phillauri is an entertaining watch – though it would probably help if you’re along for Kanan’s “trip” of choice.

Pace aside, I often found myself slowing down to look at the details. Like how a black night frame is lit in amber fire and I just want to see those faces in that glow. Or like how Bhardwaj’s version of Jana Gana Mana plays out – stirring, yet disarming. All too often, the frames and the score knit into each other like they were conceived together in the same beautiful mind. And that beautiful mind, even with its scars, shines bright at anyone who cares to look into the window to its world.