There are scenes where he triggers good performances, but with the inclusion of too many facts, figures and case files, it loses entertainment value. And gradually the plot fades into dark gullies of our big, bad Maximum city.

To put it simply, this story is – Boy meets girl. Period. Boy meets girl. Period. And boy meets girl. Period…

It’s gut-wrenching, it’s ‘Made in India’, unadulterated, 100% desi maal. Hardly sasta, but tikau. Nothing imported. The story pulsates in the heartland of India. Rising from the bed of desi politics, stained with the blood of hatred, guilt and treachery.

A traditional Goan woman in her late forties finds herself preggers, breaking cosmetic barriers; and dealing with a hubby whose ambitious business idea can spice up your sex life.

If you’ve watched animated films like ‘Bal Krishna’, ‘Ghatothkach’, ‘Hanuman Returns’, this one’s a far ‘sketch’, on a different canvas altogether. Directed (by Arnab Chaudhari) using 2G animation, the look is classic and superior by usual standards in Indian animation. Even though it’s laced with dialogues that are heavy-weight (like adharm, kartavya, kuruvansh ka sarvanash), the narration of the multi-layered complex saga, laden with countless characters, is easy to comprehend. This journey of a superhero is more for adults than kids on their summer holiday.Of all the amateurish animation films we’ve seen, this one’s a ‘God-sent’.

It’s the war of the roses. And it’s as (t)horny as it can get. Splattered with bandooks and badmaashi, goondas and gaalis – starts this ajab prem kahani. Firebrands Parma (Arjun Kapoor) and Zoya (Parineeti Chopra) are childhood hate-mates, born into politically warring families who’ve avowed to hate unto death.

This one’s a gang bang. Sorry, make that a gang bang-bang; because that’s how this story explodes – with bullets, blasts and bust-ups. Throw in gallons of blood, body-counts and ‘boom-boom’, true Bihari ishtyle. It doesn’t need coal to fuel this revenge drama. It fires on Anurag Kashyap’s penchant for the dark, dubious, deadly and daring. Starting in 1941, in the dusk of colonial India, in Wasseypur (Dhanbad), the land of coal and scrap trade, simmers an age-old hatred between Muslims and Muslims (Qureshis V/S Pathans). And the bloodbaths, power struggles, family feuds and gang wars rage over three generations.

What keeps this film together is the solid supporting cast. Annu Kapoor, in a convincing performance, is bankable as ever. He only speaks sperm language, referring to men as ‘complicated sperm’, ‘confused sperm’, et al, and giving advice on how to ‘up’ the count. Dolly Ahluwalia, plays the dominating mother and saas-serving bahu with melodrama and laughable lines. The unforgettable act is Kamlesh Gill, lighting up every scene with sasuma-like sarcasm, interspersed with witty one-liners and a drunken scene that cracks you up.

This one has all the toppings of a ‘Bhatt shocker’ – drama, emotion, tragedy and some sex. Once again they push the bedroom threshold – a semi-erotic, steamy scene between two women – every man’s turn-on fantasy. Debutant director, (Vishal S Mahadkar), tells the story well, though some scenes are very stretched, and tries too hard to provoke a reaction. A faster pace, more potent dialogues, not to add some more dum in Kunal’s voice, and a better background score – would have had greater impact.

While the truth is that most women would love to see their husbands ‘missing’, such is not the case with the dusky Vidya Bagchi (Vidya Balan), whose search for her husband, Arnab Bagchi lands her bang amidst mysterious men and baffling clues in an unknown, sometimes unfriendly city.