Perhaps Sixteen tries to appease to one audience too many. Teens of course, who will seek empathy in the story and its characters, but also adults. Here the filmmakers try to interpret teenage thoughts for those who once when through it themselves but only have a few selective memories to latch on and laugh off. The times have changed too of course but despite the modus operandi turning to technology, the basic principles of teen angst hasn’t altered much. Hormones still rage, vices are still cool, but all teenagers eventually come of age.

BMB deserves every ounce of praise for the filmmakers’ conviction on display. When you’re done watching Rakyesh Omprakash’s epic effort, you’ll come out of the theater wanting to run. And be a better person. This, right here, is the film’s ultimate victory.

As much as I’d like to reward Lootera for it’s craft I firmly believe that films can only win you over with the ability to tell a story. And this is where Lootera falters. It allows you to drift away. And this is why Udaan, despite struggling on the technical front with its 16 mm camera and stark walls, will always be an exceptional and better film.

Dabangg is now officially a genre. Overall the objective of the genre is to show a common, “honest” policeman as a superhero. If with one stomp of the boot, Baba can make cars fly, can Krrish do anything more impressive?

Raanjhanaa flows like good poetry. It is arguably the best love story of the year so far, the kind of film others in the genre should aspire.

Ghanchakkar is all very well as it flags off, but it’s mostly downhill after it hits its high point in the first fifteen minutes.

Enemmy had somme potential as a thriller of with a Rashommon-esque touch as it entirely revolves a single key incident and has three parties trying to figure it out. But it fails, ultimmately, to showcase its strengths.

Shortcut Romeo has it all – racism, classism, and every other ism you can think of. The Maasai tribal people are made to sound and look like hyena-howling kung fu fighters as they’re bashed up single-handedly by Sooraj for no fault of their own. At one point – midway in the first half – when they’re about to get the better of him and drive a dagger through his chest you can’t help but hope they succeed and put an end to our collective misery.

The writing often jumps time, leaving the audience lagging and playing catch-up. This isn’t always a bad thing in times of spoon-feeding viewers. Some of the film’s transitions are outstanding, the mark of a good director.

Ankur Arora has an important point to make and a scary reality to represent. Often we equate doctors with god-like reverence, but occasionally they might mistakenly believe that they are, indeed, god