Fitoor stands in a shaky space, wobbling between being average and brilliant. There are moments that will blow your mind – the passion is enlivening. You want to invest in the characters, get sucked into the extravagant world of enchanting valleys and the stories that inhabit its nook and corners, alleys and bylanes…with the Persian lyrics of Haminastu in Zeb’s earthy voice echoing in your ears… Sadly, the only love story you would want to celebrate in Fitoor is the director and cinematographer’s love for ethereal beauty of Kashmir and Amit Trivedi’s undying romance with melody. The rest of it is prosaic.

Ghayal Once Again is a desperate cry from the 90s – a mediocre time we’ve thankfully come ahead of. Not a colossal disappointment but too dated to ring true and a damp squib that discredits the success it won in its prime. 

Saala Khadoos’ flaws overpower its genuineness. We wouldn’t go as far as to call it a shallow film, but there is a serious lack of heart that cannot be compensated for. 

Airlift is gripping in its first half and shaky in its second. It starts off with gusto but loses momentum halfway through. As you root for the indomitable spirit of those who survived the horrific war, let’s take a moment to think why such well-mounted films fail to create the macabre, suspenseful, race-against-time impact. Why settle for being just about okay when you have the makings of being mesmeric!

Wazir has all the makings of an irresistible, sexy, tempting thriller that comes together in its climax but doesn’t roll out as convincingly as expected. It tries to be deceptive but doesn’t have enough to outsmart all. It evokes thought, woos you with its brusque, bravado style and its distinct flavour. If you can survive the boredom of the weaker moments in the movie, you might just be left intrigued with the power of its crackling climax.

Dilwale never lives up to the hype it had created around itself. For most part, it is an all-noise vanity project for stars who genuinely want to show us a good time but are held back by an impotent script helmed by a man whose competency lies is another genre.

Its gimmicks, its indulgence, its flaws, all blend in by the time the end credits roll. The sweeping visuals, the distracting tapestry, the engaging love story and the unapologetic, unabashed love for the celluloid is what makes Bajirao Mastani haunting. Bajirao Mastani is monumental… Every line has a dialogue polished with care, every shot a dream you are bound to love. SLB has never been this earnest and that’s enough to forgive all his aiyashis he has subjected us to. This one is just Mohabbat…straight from the heart.

If you do decide on watching it, do so for the dialogues. They are gems. The film evokes hate of another level. It is vile, disgusting and you’ll repeat what a character says – just get me get out of this goddamn place. It gives bad a new meaning.

Tamasha is not a romantic comedy but it is breathtakingly romantic. It will knock the wind out of you. It is the kind of love that changes you, brings out your real self – ugly, eccentric, absolutely weird but affable. Imtiaz’s films cast that spell, catapults you into a parallel world and this time he pulls it off better than ever before. Give your conflicted side a chance, it probably can do better than you believe.

… makes for a sparkling watch this Diwali. Fall for the grandeur, reconnect with values and try not to seek much of a story. Though we must warn you that sitting through a three-hour long film can be daunting in times of web-series and short films. But that’s what Barjatya is all about. Take some time out of your busy schedules to return to a bygone era, of simpler things, family films and Prem – who is waiting for you with his arms open.