…it’s texture, dialogue, and performances – make it good enough to hold up in a repeat viewing. And that’s a lot more than you can say about the majority of other films.

JBC is an over-the-top and loud slapstick comedy that you have to be in a large group and a really giggly mood to enjoy. It’s often – by design – occasionally so crass and silly that it knowingly goes for the “it’s so bad it’s good” brand of humour.

The dogged attempt by Indian filmmakers and studios to bravely continue and dabble with animation has to be saluted. At a time when their core audience – kids – is used to watching multiple 24/7 international animation channels and picture perfect Pixar movies, every few months there will be at least one ambitious Indian effort. The makers know there’s no competition at a technical level. They must then, make the most with their story. And writer/director Amaan Khan turns to the oldest book in this trick: Mahabharat.

I thought it looked spectacular! The cinematography, costume, art, stunts… I’ve never seen anything like it in a local film.

To use a poker metaphor (like the writers have done in the film unabated), this is like being dealt 2-7 unsuited in a game of Texas Hold ’em.

What the Fish’s wacky brand of humor works half the time but confounds in equal measure. It touches no chords and remains consciously superficial but it does have an ensemble that has clicked in a story oddly fresh in these times.

A coming-of-age movie with senior folk. How refreshing!

Club 60’s heart lies in its writing – specifically dialogue – and the stellar show by its cast. The screenplay breaks many contemporary conventions in its construction. Scenes take their time and meander; there is a barrage of innocuous interactions reflecting lives without frills. The smallest doses of happiness and sorrow found in routine banter and plot rendered meaningless. But all of this contributes in measures big and small to the fabric of the film, much like a Mike Leigh movie.

As a businessman, Prabhu Dheva has mastered the formula. But how long will the audience want to watch the same content – the same old fight and dance – repackaged over and over with different actors? Ask yourself.

Alas, nothing portrayed in the film is too deep for anyone – not the characters in the film, not the audience. And here’s the plight of GTPM – without a doubt every single person associated with the film is smarter than the film itself. It’s a classic Bollywood vice: talking down to the audience, not giving them enough credit, assuming you’re the intelligent one.

…not to be taken seriously. But certainly for lessons in how to charm the ladies less than half your age, give it a shot.