It’s difficult to tell if Paltan is a war film or a long-drawn advertisement for the armed forces…

There’s nothing to savour in Laila Majnu, till it goes insane…

The most unexpected aspect of this film, though, is all the violence and point-blank shootings, which one wouldn’t typically associate with an otherwise frothy film. Shock value arising from these moments adds an added layer of dark comedy, and that’s fundamentally where the problem lies – the film’s inability to commit to one genre.

With a focus on making the story cinematic, Dhadak loses its heart, wrath and social urgency

Despite a tried-and-tested premise, Bill Holderman’s directorial debut falls flat. There’s a nagging déjà vu telling us that we’ve seen better tales of female camaraderie before, because we most definitely have.

Angrezi Mein Kehte Hain is facile instead of an insightful take on arranged marriages

At the centre of a film as disturbing as this is a tender portrayal of family, parenthood, loss and companionship, proving that there is, in fact, ample space and scope for meaningful horror, like last year’s Get Out. But with an apocalyptic premise, there are bound to be several loopholes, which stand out rather starkly.

Despite the censorship, The Square manages to emerge as a rewarding experience. It’s quite enriching when an artist, in this case Östlund, pushes the boundaries of cinema to unfamiliarise, and even destroy, known concepts, creating a sense of heightened awareness towards them. Be it towards accepted norms of human behaviour, poverty in a posh Scandinavian city or politics of capitalism, it all ultimately forms the bedrock of strong artistic discourse.

Despite making big bucks, Angelina Jolie’s two-film series are far from being counted among the memorable action films of Hollywood. The emphasis back then was on the fights, which Jolie immortalised as Lara Croft. Vikander brings in a youthful, millennial vibe to the character and the focus sharply – and still – remains on the action sequences, which is tactfully executed, no doubt. But this was a second chance for the film to go beyond and set things right in other departments, but it ends up being a cinematic manifestation of the proverbial saying – old habits, die hard.

If you survive the visual overload of mediocrity, the booming background music playing throughout will leave you with tintinnabulations of dhol, even long after the film is over, constantly reminding you of the torture you’ve endured.