It’s a film of meditative pauses and life as many of us have felt and lived. It reaches out to the heart as well as the mind. Not the kind of film you see very often.

There are times when, instead of following the film’s narrative, you end up playing ‘spot the mistake’. I did think that making all the kids of Anupam Kher’s family wear clothes off the same yarn was excessive. That happened in the ’50s and ’60s, not so much in the ’80s.

It’s a straight, simple story with no great highs and lows and an easy resolution. The film moves a bit slowly, the acting initially feels mannered and the setting designed. But the unashamed good-heartedness and positivity of the film eventually take over.

For a good, consistently witty, relationship-oriented film told from the male perspective, I’d go with Saket Chowdhury’s Pyaar Ke Side Effects. But it’s evident that Pyaar Ka Punchnama is on its way to becoming the love bible for young men—however problematic that might be for some.

Hindi mainstream cinema, despite its predictability, can at times leave you with a smile on your face and a song in your heart. Band Baaja Baaraat is one such endearing film. The story might be the usual: boy meets girl, they get into a misunderstanding and eventually come together again. However, what makes it special is that it feels delightfully real, is strongly rooted in contemporary Delhi middle class.

To compare OUTIM to other underworld films like Company and Satya would also be gross injustice to them considering they were a far more textured look into the mafia machinations. OUTIM doesn’t go beyond the obvious and essentially remains nothing more than a straightforward tale about how the new order takes over from the old in the underworld hierarchy.

Initially, the jerky, odd camera movements of LSD can prove quite unsettling for an audience used to sanitised, textbook frames. The kitschy metafilm (inspired from pulp fiction) adds to the bizarreness. But it doesn’t take long to fine-tune your vision to the inventive look, feel and idea of LSD.

Shootout At Lokhandwala’s tagline is a contradiction—”true rumours”—a clear indication of how facile a film it is. It shows no engagement with the politics of encounter killing, which is its core idea, but glorifies violence and machismo.

It is also cinema of the stars, of larger-than-life glamour. Ash and Bipasha display bronzed, toned bods in hanky-small dresses. Dhoom 2 teases, titillates, caters to the voyeur in every viewer. But there’s no gender divide here. We women too have been given an equal opportunity to ogle at dishy Hrithik.