Remember the memorable acting, awesome camerawork, gritty frames, Bhiku Matre and all the stunning thrills like the movie theater bust out from the original Satya? Yeah, all that stuff is not in this sequel.

The superhero of atrocious superhero filmmaking has struck again, and it’s not a pretty sight. Take the most superficial components of X-Men, Batman, Superman, Spiderman and even Shaktimaan; stuff them together in a litter bag, set that bag on fire and inhale the fumes – that’s pretty much what Krrish 3 feels like.

Unlike the commercial hogwash that sloshes around movie screens every week, Shahid is a brave and ballsy film made for grown-ups who like a little intelligence in their entertainment.

Boss expects you to laugh in the face of amazing stupidity. The jokes would struggle to make a guy attached to a nitrous oxide cylinder budge a facial muscle. The highlight of the film is a joke where Boss saves a woman and bestows his brotherly affection towards her by naming his truck ‘Behen ki lorry’.

Some of the facts in Fire in the Blood may only represent the surface level of the problem, and the film’s cutaways to an impoverished Africa tend to get a bit repetitive after a point. Gray’s cameras introduce us to various people in India and Africa who contracted HIV but are still alive due to their access to inexpensive medicines in the country.

Apart from using groundbreaking technology like an LED box that’d change filmmaking as we know it, Gravity has a ‘believable’ disaster plot and a heroine who is quite different from the stock scream queens that you expect from Hollywood.
All flaws of Gravity become infinitely smaller the bigger the screen you watch it on. In IMAX the film is perfect, utterly faultless.

If you can ignore the three-four instances of inelegant preaching, Elysium is a blast from start to finish. There’s not a dull moment here thanks to the gravelly editing. The production design is incredible, from all the gleaming futuristic hardware of the first world to the rusty crapware of the third world.

There’s plenty of religious symbolism but Villeneuve establishes a chilling moral subtext to it all and lets you make judgments – little details like these is what makes Prisoners so good. And when you veer from feeling hate to pity for the suspect, you know you’re watching great cinema.

The only element of Prague that offers a welcome break from the dreary, amateurish and clichéd story grafted onto a bad two-hour ad for the city of Prague is the music by Atif Afzal and Varun Grover. Director Shukla gets all the music montage scenes just right, but every single one of those scenes are so tonally detached that they seem like they belong in another movie. Pity.

‘Fruitvale Station’ won the Grand Jury prize at Sundance this year, and it is quite obvious why. The film is not just well made but also an important one. It’s also not a film as much as it is a heartfelt paean for the utter lack of justice in the world.