The plot synopsis for Triple 9 barely stretches beyond a line – corrupt cops on the payroll of Russian mobsters. But director John Hillcoat (The Road, Lawless) packs the film with enough pulpy flavor and tension to transform the routine into something deep and perhaps even profound.

Reshammiya’s fans will appreciate the corny dialogue by Natasha Ramsay, the slow-motion action sequences in which our hero sends criminals flying through conveniently located glass panes, and his newly chiseled body. Whatever the view on Reshammiya and his unrelenting attempts to be regarded as an actor, there is no doubt that he is the biggest sport in Bollywood. Perhaps no other actor tries so hard to live up to the criticism, and succeeds every time.

Andrew Haigh’s marital drama features superb performances by Charlotte Rampling and Tom Courtenay…

The action too is definitely weaker in this sequel too, which comes across as a bit of a vanity project for producer and lead actor Butler, with skimpy support coming from Morgan Freeman, Angela Basset and Eckhart. Though Butler and Eckhart share an easy chemistry, the plot is too contrived for the proceedings to be convincing. The spectacle of the White House exploding has the hint of awe to it, but the poor computer graphics in the sequel do not evoke any horror as Westminster Abbey and Chelsea Bridge are blown up.

Packed with beautifully animated creatures, this animated movie is a winner…

BN Singh’s solutions are ultimately no different – and certainly less watchable – than the average vigilante flick. Singh ultimately emerges as a more serious and sorrowful Chulbul Pandey, and all Jai Gangaajal needed was a shirt-baring moment to complete the fantasy of justice delivered off the books and in slow motion.

Alex Proyas’s Gods of Egypt is a deeply stylish and deeply hollow fantasy adventure in which it is hoped that the spectacular visual effects will blind audiences to the absence of a credible storyline.

Alejandro G Inarittu’s surival epic features superlative cinematography by Emanuel Lubezki and a deeply committed performance by Leonardo DiCaprio.

The movie is most powerful as a miniature about a man who prefers the comforts of the shadows rather than the glare of the spotlight. Mehta and Asrani put forth the message of the personal as political with as much restraint as is possible in a mainstream movie. Deepu draws the introverted professor out of his self-imposed prison and seems to be able to restore some of his trampled-upon dignity. There are some benefits to being forcibly outed. Siras recites his poetry at a gathering, shyly accepts the applause, and, for the first time in days, feels better about himself. It’s one of the movie’s most affecting scenes and Bajpayee’s finest moment.

Abhishek Sharma’s sequel to his 2010 sleeper hit tries very hard to squeeze humour out of a contrived plot.