The fast-paced plotting, and typically silly action-comedy sight gags ensure that the 103-minute running time breezes by, but there is little here that hasn’t been seen before, or that Chan hasn’t done better.

It’s all as expected – the gimmicky scares that are so predictable that you can set your watch to them, the slickly choreographed action that befits the movie’s video game origins and the strictly-business acting by one and all. The futility of the enterprise is evident from the ease with which Alice overcomes every obstacle thrown her way.

In ‘Kaabil’, Hrithik Roshan is much too capable as the blind hero
Sanjay Gupta’s vendetta thriller works because of its childish simplicity and the leading man’s exertions.

The movie’s philosophy is best summed up not in the line “Baniye ka dimaag aur miyan bhai ki daring”, but in the observation that where there are restrictions, there will be rebellion. Raees’s resistance is conventional, but the movie’s slyness and lack of moralising are off the books, like the liquor.

Coffee With D aims for conversational comedy, but it never quite hits its stride. Grover, the television actor best known for his mimicry-based characters Gutthi and Rinku Bhabhi, is miscast as the hero of the enterprise. Grover doesn’t have the ability to command the big screen, and the absence of clever dialogue leaves him visibly floundering.

Haraamkhor’s characters are supposed to have shades of grey, but their blandness can never be mistaken for maturity. About the most shocking thing about this major-minor affair is its sloppiness.

Ali has all the elements in place for a breezy ode to young love, but his mechanical approach and miscasting ensure that OK Jaanu is not exactly an okay remake.

As pitches for conquering world markets and disgruntled domestic audiences go, Return of Xander Cage does one better than Gibbons’s glib and always successful sales talk.

Every age produces the cinema it deserves, and with its insistence on absolute obedience to an authoritarian figure, Dangal is inadvertently a reflection of our times. Daddy truly does know best, and Dangal harbours no doubt whatsoever that his daughters are wise not to question him.

The movie lacks Kahaani’s balance of thrills and humour, but it has the same spirit of righteous anger and faith in a female actor’s ability to take charge of a situation. Ghosh shopped the script to other actors before going back to Balan, and the movie is the better for it.