22 Jump Street might fall slightly short of being as awesome as 21 Jump Street but it will surely leave you begging for more.

PS: Stick around for the titles. You’ll thank me later.

Lucy could have used more action and a better soundtrack and although it isn’t really a masterpiece, it cannot be dismissed either. Lucy is a visual treat — like National Geographic in HD. But better.

Although I would like to think otherwise, Planes: Fire and Rescue was made in order to keep the franchise alive.

It was clearly not a labour of love and it doesn’t really care where the script is headed to, as long as it fulfills its target audiences’ need for instant gratification.

Planes: Fire and Rescue seems to be too high on fuel to be able to walk the straight line of consistent storytelling.

Begin Again speaks to the viewer like few films have… Begin Again has neither heroes, nor anti-heroes.

It just has people — pathetic, frustrated, struggling people who are still clinging on to the hope that things will get better.

And it has music; and sometimes that is enough too.

The makers seem to have been inspired by several popular Hollywood romantic comedies and so, the film becomes predictable.

Funny on the surface with faults in its execution, Amit Sahni Ki List should probably come with a warning that says ‘Burn after watching’.

Dawn of the Planet of the Apes is not, and never was, about a fictional future that seems scary and yet amusing to us at present.

It is about realising what we’re doing today and what could be done to us tomorrow.

Dawn of the Planet of the Apes unapologetically pits humans against apes; and you can’t just be a mute spectator.

You will be forced to take sides.

The fault in The Fault in Our Stars is that it is so obsessed with bringing tears to your eyes that it forgets to bring substance to the table.

Bobby Jasoos works only because of Vidya Balan and the strong supporting cast…

…too obsessed with being a fairytale to really become anything more than a pretty sheet of shiny wrapping paper twisted around a piece of wood-hard, flavourless candy.

It is as beautiful as its subject, but amounts to be little else.

The World Before Her is a poignant, disturbing watch. It makes you wonder which will be the new India — Ruhi’s glamorous “modern” world, or Prachi’s traditional, religious State. And will either of these really be so different from each other?