If you’ve seen your fill of action films over the years you’ll really be able to appreciate what Ghayal Once Again serves up in its two-hour runtime. The dramatic bits are inconsistent but even so, the film manages to impress. It’s shot nicely, it’s fast and it takes the right kind of approach to building on the legend of Sunny Deol and Ghayal.

It has the right balance of humour, drama and insight. It sheds light on the many fallacies of sports in India but it never gets preachy or boring. It always stays relevant and most importantly it engages you and entertains. This is Bollywood’s happier answer to Million Dollar Baby. And to employ the old Mohammad Ali adage, this one floats like a butterfly and stings like a bee.

This film is plain embarrassment for those who made it and those who decide to watch it.

Even those who can’t second guess the outcome, the climax is convenient and inane. The emotional depth and the complex character behaviour that engages you through the first half are slavishly abandoned for action-movie thrills. It’s all well done. The production, the sound, the action is all top notch. But the writing is King of the game in a film. The technique is merely a pawn. You can sacrifice the pawns but not the King.

Dilwale is the quintessential popcorn flick. It’s colorful, bright and entertaining. It smartly keeps its play on the SRK-Kajol chemistry (watch out for the brilliant ending). It has fantastic music. Decent laughs too. Definitely worth a dekho.

Bajirao Mastani will also be remembered for its production design and costumes. The level of detailing in the film’s visuals is awe-inspiring. The camerawork and SLB’s vision for grandeur create a mirage of excellence on screen. SLB’s music is not only influential it’s emotional and touching. Rarely do Hindi movies look like they belong on a world stage. Bajirao Mastani is definitely a strong contender for that spot. It’s definitely one of the year’s best.

Hate Story 3 is a small-budget thriller that’s designed with the specific idea of catering to the needs of its audience. With the right amount of oomph and risqué content, you can laugh all the way to the bank. Perhaps it doesn’t matter that those paying money won’t be as amused.

Imtiaz Ali makes good films. You could even call him the authority on love stories with a sufi flavour. But Tamasha doesn’t quite make the cut. Not for Imtiaz, not for Ranbir and not for Deepika. Even the Mohit Chauhan and AR Rahman combination of music seems like a leftover from Rockstar. There was so much potential here. So much the team could’ve achieved. But in the end, despite some flashes of brilliance here and there, Tamasha turns out to be no show. Ironically, it has a story that tries to ward off mediocrity in everyday life, and yet the film only manages to evoke mixed reactions.

Despite its flaws, PRDP manages to entertain you. It’s long yes, and most of its story is almost too sentimental. But the it works, especially if you like family dramas with a dash of style and humour. This is definitely worth a watch.

Main Aur Charles is worth a watch for Randeep Hooda alone. Couple that with a fabulous performance by Hussain and director Raman’s control over his subject make this worth a very strong recommendation.