A lyrical ode to the modern malady — metro-eccentricity — Dhobi Ghat is intelligent and artistic cinema.

It’s a familiar world of bhais, boxers and bustee wallahs which Mumbai cinema has created and re-created, time and again that stares at you in Lafangey Parindey. And it’s this familiarity of character and script that actually works against Pradeep Sarkar’s third love story which comes after Parineeta and Laaga Chunari Mein Daag. There is an overriding sense of deja vu that overcomes you as you watch the cliche-ridden script unfold in a predictable fashion, where the rough-edged gangster is involuntarily drawn towards his sweet yet strong victim. And yet, it isn’t easy to write off the film completely.

In Ishqiya lingo, the film is a sutli bomb (firecracker) that tickles and explodes. But for the hurried and harried end. Go, have a blast.

The high point of the film is the fact that director Rajkumar Hirani says so much, and more, without losing his sense of humour and the sheer lightness of being. The film is a laugh riot, despite being high on fundas.

The winning duo of Shimit Amin and Jaideep Sahni may not be offering you a Chak De India this time round, but they do sculpt some rare moments on celluloid that end up redefining the pursuit of happiness as something more than mainu chaida, chaida, chaida! (I want, want, want!)

Kurbaan sure does strike a chord and sets you thinking on stuff that needs to be sorted out before the new world order – a more humanitarian, less violent – sets in. Don’t miss it.

Truly, Kaminey’s a heady vodka martini, leaving you both shaken and stirred. And no, don’t even ask for the popcorns. You’ll leave them untouched coz this one just isn’t the regular-run-of-the-mill popcorn flick.

A must-see film, with a delicious sense of humour, Harishchandrachi Factory boasts of some sterling performances by the lead actors (Nandu Madhav and Vibhawari Deshpande) as Mr and Mrs Phalke who end up as the most chilled out couple of the early 20th century. The film works as a period drama too, with an exquisite eye for detail. But most importantly, it lays down the mantra of Indian movie lore. When someone asks Dadasaheb what kind of movies he would like to make, he replies: The one’s which are resplendent with our culture and ethos.

The only high point of the film is Shah Rukh’s interpretation of the geeky-gawky middle class hero, who would have actually been quite lovable if he didn’t metamorphose into his gaudy, over-the-top alter ego, Raj. Debutante Anoushka lacks all chutzpah and can barely hold your attention. Watch it, only for Surinder Sahni ji, a refreshing new take on the Bollywood hero.

Dramatically, it’s Priyanka’s journey that is the most comprehensive as it tackles her growth from an ambitious, young girl to an arrogant model who fails to handle her success, crumbles and then rises again, like the proverbial Phoenix. The actress delivers a competent performance and yet, has tough competition from the other two girls.