A lot is salvaged in the crackerjack reveal during the finale and it becomes easy to be swept away by the climax’s sheer populist wave. If a better, more convincing central actor had brought some authenticity to the table, Drishyam could have been a must-watch. Right now, it just gets a mild thumbs-up.

His latest movie ‘Pixels’ is yet again a horrible experience, and this time it is more frustrating because the concept of the movie is quite amazing. So in contrast to Mr Sandler starring in an already terrible film, this time he has actually ruined a potentially great film.

Sometimes, the case isn’t the point, but the man in charge of the case is, and as a character drama ‘Mr Holmes succeeds as one of the best of the year.

The film essentially is a series of half-baked attempts at exploring a bouquet of unconnected themes. Social commentary needs mature filmmaking, and Aisa Yeh Jahaan falls far short.

It’s a bit unfair to Ant Man that the Edgar Wright episode hurt its publicity because the final film is entertaining and funny. Any fan of Wright would be able to spot his DNA in a few scenes, but there’s no denying Reed’s flair for situational comedy and his ability to subvert the whole concept of big action into a smaller scale. It’s about time Wright’s shadow left this film and Reed received an accolade or two.

This is a film where Bhai makes intense geopolitical statements, addresses race and gender politics, demonstrates the futility of religion in modern times while simultaneously displaying the awesome power of Lord Hanuman, showcases the inability of the common man to speak up against political injustice with a metaphorical mute girl, espouses the need for humans to be truthful and uncorrupt, displays the triumph of the human spirit over unbeatable odds, and demands the need for more vocal cord medical research.
Has Kieslowski, with his profound understanding of life,explored any of these themes, let alone in a single movie? Of course not. Bhai rocks.

The film’s biggest achievement is headlining the effect fame can have on someone not prepared to become a celebrity. Ultimately Amy was just a girl who could belt out powerful songs, she was not ready for a starry public image. The film also paints a pretty gruesome picture of drug addiction, but it does it in a way where you understand why most celebs get hooked on to them, and you’re doubly sure never to do them. Kapadia was hailed as the next big thing with ‘Senna’, and now with ‘Amy’ he has well and truly arrived.

It’s a genius strategy – make a movie for peanuts, and make a ton of profit because people love horror movies. As a result over the past ten years we have seen a barrage of painfully bad found footage films that take a dump on the legacy of ‘Blair Witch’. The trend continues in ‘The Gallows’, which is again a cheaply made film, shot with handy cams, and presented as a found footage movie with thrills and chills. Sadly the thrills in the film are lame and the chills are absent.

The element of surprise is gone, but there sure is fun in the familiarity. There’s only so many times you’ll giggle at the Minions cutely saying ‘banana’. Ultimately it’s harmless fun, and the kids will surely enjoy it, so it becomes an easy watch and an even easier recommendation.

What really makes the film work is that it is, at its heart, a fast-paced adventure, fuelled by themes of questing and redemption. Prabhas is exceptional as the lead, hulking yet charming. Rana Daggubati is perfectly cast as the villain, his performance layered with subtlety and nuance.